<HTML> <HEAD> <TITLE>Re: Lacquer application</TITLE> </HEAD> <BODY BGCOLOR="#FFFFFF"> Jim, It's been awhile since I made up my last mixture, but I'd estimate somethin= g like this: after making up a solution that's as thick as possible (until n= o more tops will dissolve in the acetone), I probably cut that with about 4:= 1 acetone to base solution and use that as a starting point. Probably I go e= ven thinner than that. Next time I do it I'll weigh the two and see. I just = bought some of those pellets for the first time. The important thing for me when I'm using this for detail (or evening?) voi= cing is to make it thin enough that I can soak it down into the hammer (not = just on top) and yet have the result be as subtle as I need, and not overdon= e. I don't want to have to needle down a hammer that I've put too much plast= ic into. If I want to just put a drop on the strike point (maybe just to giv= e the attack a little more definition), or even just on one string line, I'd= use a solution not quite as thin, otherwise I'll get no result at all. One of the virtues of putting it on real thin is that if it's not enough it= only takes another 15 minutes to put another application on. You can work i= t up gradually. And also, probably the less of this stuff you put in a hamme= r the better. We're talking about subtle tweaking here... For me I guess it's become a feel thing, or rather a "see" thing.= You get to the point where you can pretty much tell by looking through the = bottle or squirting a drop or two onto something (especially if you have a b= ottle of the ultra thick base solution to compare it to) how much effect it = will have.  Sort of like with lacquer, although I never trust my eyes w= ith that since there's so much more at stake if your eyes deceive you! One time, in a hurry and not paying attention, I used the wrong bottle on a= hammer and irrevocably destroyed it! Fortunately not a concert piano, and o= ld hammers that need to be replaced anyway. Hope this is useful. Allen Wright ---------- From: Jim Busby <jim_busby@byu.edu> To: College and University Technicians <caut@ptg.org> Subject: RE: Lacquer application Date: Wed, Oct 15, 2003, 5:00 PM <BLOCKQUOTE>Allen,   Can you guess on the formula? Say, 1 keyt= op to 4 oz.? 8 oz.? (I dont buy skimmed milk)   Jim Busby BYU   -----Original Message----- From: caut-bounces@ptg.org [<FON= T COLOR="#0000FF">mailto:caut-bounces@ptg.org] On Behalf Of= Allen Wright Sent: Wednesday, October 15, 2003 11:36 AM To: davidlovepianos@earthlink.net</FONT= >; College and University Technicians Subject: Re: Lacquer application   I'd like to put in a good word for the occasio= nal, intelligent use of keytop hardener. I find it excellent for "detai= l" voicing or tone building; after you've done your major lacquer appli= cation/s and find that a few notes have a little less power than their neigh= bors, using a very thinned out solution with keytop can tweak those notes up= just the right amount. I'm talking about a solution that looks like skimmed= milk (or even weaker). Used with discretion, this sort of thing can give yo= u the subtle boost the note needs. I remember first watching Franz Mohr use keytop solution many years ago in = a seminar talk. The thing that sticks in my memory is that he even liked to = use it on just one string line on the hammer if he felt that was all it need= ed. Detailed juicing, indeed... It's also great in concert prep situations, where you don't have the luxury= of waiting for lacquer to dry. I agree, however, that used as the main hardener it tends to be more brittl= e and noisy sounding, and I prefer lacquer for "the main dose".<BR= > Allen Wright, RPT Northern Kentucky University ---------- From: David Love <davidlovepianos@earthlink.net= > To: College and University Technicians <caut@pt= g.org>, caut@ptg.org Subject: RE: Lacquer application Date: Wed, Oct 15, 2003, 10:21 AM Though it's a bit more trouble and involves st= anding the action on end, applying lacquer from the side of the hammer gets = the hardener underneath the strike point (where it belongs) without it wicki= ng up to the surface where it can make noise.  You can control exactly = how near the crown you put it this way.  That is how I apply lacquer (n= ot keytop material) and I've found it's best to do it from both sides.   David Love davidlovepianos@earthlink.net &l= t;mailto:davidlovepianos@earthlink.net&g= t;     ----- Original Message ----- From: Lance Lafargue <mailto:lancelafarg= ue@bellsouth.net>   To: caut@ptg.org <mailto:caut@ptg.org> Sent: 10/15/2003 5:49:17 AM Subject: Lacquer application This is related to my other post, but dif= ferentÖÖ..   When prepping new Steinways, does it matter where= the lacquer is applied and can this contribute to the zinging sounds mentio= ned in my V-Bar post?     In other words, if the lacquer is applied from the crown= (very top) as opposed to the shoulders and allowed to wick up to the crown = from the sides, could this add to the amount of material sitting near the ou= ter surface of the top of the hammer, adding to the difficulty with zinging?=  Could the application of hardener to the shoulder and allowing it to = wick to the top help to minimize the unwanted high frequencies while allowin= g firm support to the shoulders giving volume and power?     I have found the use of acetone/key top solution to incr= ease this unwanted noise over lacquer.   Thanks!   Lance Lafargue, RPT LAFARGUE PIANOS New Orleans Chapter, PTG 985.72P.IANO lancelafargue@bellsouth.net<FONT= SIZE="2">   </BLOCKQUOTE> </BODY> </HTML>