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<DIV><FONT face=Arial size=2>AMEN</FONT></DIV>
<BLOCKQUOTE dir=ltr
style="PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
<DIV style="FONT: 10pt arial">----- Original Message ----- </DIV>
<DIV
style="BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: black"><B>From:</B>
<A title=dporritt@mail.smu.edu href="mailto:dporritt@mail.smu.edu">Porritt,
David</A> </DIV>
<DIV style="FONT: 10pt arial"><B>To:</B> <A title=caut@ptg.org
href="mailto:caut@ptg.org">College and University Technicians</A> </DIV>
<DIV style="FONT: 10pt arial"><B>Sent:</B> Thursday, November 29, 2007 7:51
AM</DIV>
<DIV style="FONT: 10pt arial"><B>Subject:</B> Re: [CAUT] glues, Poletti</DIV>
<DIV><BR></DIV>
<DIV class=Section1>
<P class=MsoNormal><SPAN style="COLOR: #1f497d">Diane:<o:p></o:p></SPAN></P>
<P class=MsoNormal><SPAN style="COLOR: #1f497d"><o:p> </o:p></SPAN></P>
<P class=MsoNormal><SPAN style="COLOR: #1f497d">I’m really sold on the
Titebond Trim and Molding Wood glue. It fills gaps, doesn’t run and I’ve
had no problem with loose hammer heads. The doesn’t run or drip thing is
a real plus for me.<o:p></o:p></SPAN></P>
<P class=MsoNormal><SPAN style="COLOR: #1f497d"><o:p> </o:p></SPAN></P>
<P class=MsoNormal><SPAN style="COLOR: #1f497d">dave<o:p></o:p></SPAN></P>
<P class=MsoNormal><SPAN style="COLOR: #1f497d"><o:p> </o:p></SPAN></P>
<DIV>
<P class=MsoNormal><SPAN
style="FONT-SIZE: 11pt; COLOR: #1f497d; FONT-FAMILY: 'Calibri','sans-serif'">David
M. Porritt, RPT<o:p></o:p></SPAN></P>
<P class=MsoNormal><SPAN
style="FONT-SIZE: 11pt; COLOR: #1f497d; FONT-FAMILY: 'Calibri','sans-serif'"><A
href="mailto:dporritt@smu.edu">dporritt@smu.edu</A><o:p></o:p></SPAN></P></DIV>
<P class=MsoNormal><SPAN style="COLOR: #1f497d"><o:p> </o:p></SPAN></P>
<DIV>
<DIV
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<P class=MsoNormal><B><SPAN
style="FONT-SIZE: 10pt; FONT-FAMILY: 'Tahoma','sans-serif'">From:</SPAN></B><SPAN
style="FONT-SIZE: 10pt; FONT-FAMILY: 'Tahoma','sans-serif'"> <A
href="mailto:caut-bounces@ptg.org">caut-bounces@ptg.org</A>
[mailto:caut-bounces@ptg.org] <B>On Behalf Of </B>Diane
Hofstetter<BR><B>Sent:</B> Thursday, November 29, 2007 2:10 AM<BR><B>To:</B>
College and University Technicians<BR><B>Subject:</B> Re: [CAUT] glues,
Poletti<o:p></o:p></SPAN></P></DIV></DIV>
<P class=MsoNormal><o:p> </o:p></P>
<P class=MsoNormal style="MARGIN-BOTTOM: 12pt"><SPAN
style="FONT-SIZE: 10pt; FONT-FAMILY: 'Tahoma','sans-serif'">I'm interested in
the question of glues, because I recently watched an unsighted technician
gluing grand hammers on with Titebond. Most of his glue joints were
starved for glue and none had glue collars. I always used hot hide
glue, which I found easy to use, made great glue collars and gave a nice,
straight job. But I can see where that is impractical for this tech, so
have been wondering what I might suggest to him in the way of a better glue
and better method. Ted, you mentioned fish glue for key bushings, do you think
it would be appropriate for hammers? Does anyone have any good
ideas?<BR>Thanks!<BR>Diane<BR><BR>Diane Hofstetter<BR><BR>> From:
edward.sambell@sympatico.ca<BR>> To: caut@ptg.org<BR>> Date: Wed, 28 Nov
2007 15:15:06 -0500<BR>> Subject: Re: [CAUT] glues, Poletti<BR>>
<BR>> I read somewhere that all glues will creep to a greater or lesser
degree. <BR>> When I was teaching at George Brown College, it was
impractical to have a <BR>> large number of glue pots for hammer gluing,
much as I would have preferred <BR>> hide glue, so we used Titebond. It was
much harder to extract hammers from <BR>> the shanks with this than those
glued with hide glue, though ten minutes <BR>> with a heat gun let them be
pulled off readily.The soundboard splits we <BR>> commonly encounter in old
pianos are mostly not true splits at all, but are <BR>> separated joins,
thus showing that creep has occured by shearing at the <BR>> ribs. It can
be assumed that most of these soundbards were glued with hide <BR>> glue.
It is just as well. as if the joints hold, there would be true splits,
<BR>> which would be very difficult to shim unless the grain is very
straight. I <BR>> enjoy working with hide glue, but it is more demanding.
It must be carefully <BR>> controlled in viscosity, though this is also an
asset; large work such as <BR>> cabinetry (and soundboards) should be
heated, clamps prepared ahead of <BR>> assembly and applied very quickly.I
have taken to using fish glue for key <BR>> re-bushing;, but found it
necessary to prime coat the mortices first with a <BR>> 50-50% dilute with
water. It is slow setting, but will take hold quickly. <BR>> Fish glue is
easily reversible with the usual mix of warm water and a little <BR>>
wallpaper remover. It is availabele from Veritas. There is a small bottle
<BR>> with a brush in the lid which is ideal for light field repairs, and
refill <BR>> 17oz. bottles. I have seen failures with hide glue through
lack of <BR>> understanding. One new grand I saw had a large number of
loose hammerheads. <BR>> The glue collars were all near black, indicating
the glue had been boiled. <BR>> Hide glue must not be heated above 150F.
140F to 145F is considered the <BR>> proper range. Bill Spurlock recommends
the use of a Rival Express Hot Pot <BR>> and setting its temperature with
the aid of a candy thermometer. I saw these <BR>> recently in Wal-Mart, and
think it a great idea. They cost around $15 <BR>> compared to $100 or so
for a dedicated glue pot.<BR>> <BR>> Ted Sambell<BR>> ----- Original
Message ----- <BR>> From: "Richard Brekne"
<ricb@pianostemmer.no><BR>> To: <pianotech@ptg.org>;
<caut@ptg.org><BR>> Sent: Wednesday, November 28, 2007 2:40
AM<BR>> Subject: [CAUT] glues, Poletti<BR>> <BR>> <BR>> > Hi
Anne<BR>> ><BR>> > Creep in conditions like you mention seem quite
easy to understand. There <BR>> > is a kind of shear stress on a hitch
pin rail that is glued to a <BR>> > soundboard. But there is another
point from his site I found very <BR>> > disturbing . The assertion that
Titebond and similar glues never really <BR>> > harden and impart (to
some degree) kind of damping effect, absorbing some <BR>> > of the
vibration energy instead of either reflecting or transmitting. This <BR>>
> has immediate implications for modern piano building as well as older
<BR>> > instruments. I'm not so sure how much a problem Creep is in
situations <BR>> > where there is not immediate and significant levels
of shear stress on the <BR>> > glue. But I'd like very much to hear more
in depth comments about all this <BR>> > in general.<BR>>
><BR>> > I'm not sure I'd have a problem using Titebond to fix a
broken shank out <BR>> > on some field repair job. But thats not really
what I was talking about. <BR>> > When in a restoration shop one has a
variety of choices at hand.<BR>> ><BR>> > Cheers<BR>> >
RicB<BR>> ><BR>> ><BR>> > Ric wrote:<BR>> ><BR>>
> Hi Folks<BR>> ><BR>> > Reading in one of Anne Ackers i found
a reference to the website<BR>> > of one<BR>> > Paul Poletti who
has a side dedicated to glue. Please look over the<BR>> > following and
provide comment.<BR>> ><BR>> > Thanks<BR>> > RicB<BR>>
> ******************************<BR>> ><BR>> ><BR>>
><BR>> > He's absolutely right. Most harpsichords built with
aliphatic glues in <BR>> > the 1970's and 1980's demonstrate cold creep
very nicely with the <BR>> > shrinking of the gap as the soundboard
creeps forward, e.g.<BR>> ><BR>> > Besides, hide glue is so EASY
to use. If it stinks, you're using bad <BR>> > stuff.<BR>>
><BR>> > Anne <o:p></o:p></SPAN></P></DIV></BLOCKQUOTE></BODY></HTML>