Hi- I know my traveling technique is probably not standard at all but it's worked well for me long enough. I use either masking tape or colored painters tape cut into narrow strips, then I always remove each flange every time as needed. The tape stays exactly where I want it and also is easy to remove later if desired. Sometime in the late 80's Franz Mohr taught me (us) at the factory training seminar class to actually trim or shave a bit off the corner of a flange if it was tightening down to one side too much. I did that for a long time but now like the cross tape method of solving this problem much better. It's more accurate without making permanent changes to the wood. I never could understand that thick paper they use at the factory. On pianos I service regularly I'll often leave at least part of a strip of that tape on the back side of an end block, for example, for quick easy access in the future. best, Dennis Johnson ___________________ On Sat, Feb 12, 2011 at 3:16 PM, Fred Sturm <fssturm at unm.edu> wrote: > On Feb 12, 2011, at 10:57 AM, Barbara Richmond wrote: > > Greetings list: > > I'm very familiar with traveling Steinway parts, but not flat flanges. Are > there refinements to traveling them--other than just placing the traveling > paper to one side or the other and the proximity to the flange hole? When I > removed parts from the hammer rail of an action I'm working on, I noticed > that sometimes paper was placed for or aft and not often the entire length > of the flange. I understand the different widths of the paper, but not the > for and aft placement on flat flanges. > > > To be honest, I am not entirely sure about the difference between a bit of > travel paper fore and aft on a flange. For travel, what matters is the angle > of the centerpin: that is what we are affecting, that is what makes the > shank travel a bit one way or another. So from that point of view, I don't > see much difference. If there is paper under one corner of the flange, it > will sort of "twist" the position of the flange, but the affect on the > centerpin is really just to raise one side relative to the other as far as I > can make out. > I suspect that paper in front of the screw (toward the hammer) has more > effect than on the back side (I am talking about paper to the side of the > screw, but applied fore or aft of the screw). I use a strip the full length > for rough travel, then shorter strips for fine travel, as short as 1/4 or > less the length of the flange. I will position the shorter bits at various > points along the length: if that little bit wasn't enough, I'll put another > little bit next to it/in line with it, making it effectively a little > longer. I also use different widths of paper, and place it closer to or > farther from the screw for greater or lesser effect. > I see a lot of traveling (Steinway in particular) where the paper is quite > thick and wide, almost always extends the full length, there is often paper > on both sides of the screw, and none of it is glued to the flange. They use > the gummed brown paper, and assure me that it will stick from the humidity > in the air. Not in NM. (Yes, I see this kind of thing on other brands as > well, but this is particularly prevalent on Steinway factory issue). I can't > do a fine travel job with such thick and wide paper, and neither can they > <G>. I have also seen fore and aft placements in Steinways of shorter bits > of paper, not for spacing issues (not cross papering), to get less tilt than > from full length. It works, same with flat flanges as with Steinway. > Regards, > Fred Sturm > University of New Mexico > fssturm at unm.edu > > > > > > -------------- next part -------------- An HTML attachment was scrubbed... URL: <http://ptg.org/pipermail/caut.php/attachments/20110214/1b9856ff/attachment-0001.htm>
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