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<DIV>In a message dated 12/4/2004 11:59:22 PM Pacific Standard Time,
solliday@ptd.net writes:</DIV>
<DIV> <FONT size=3>Chris</FONT></DIV>
<DIV><FONT size=3> Well said I,ve used this method for ye=
ars.
If there is not some solution over the top of the hammer the
tone doesn't develop where it needs to go</FONT> <FONT
size=3>,epecially in a concert situation. If you have the luxury of a heav=
y
player in a non concert setting then play in time will help develo=
p
the sound without lacquers but if the top is truly too soft the soluti=
on
is a great & instant tonal benifit. The top & tone is easi=
ly
maintained in this case as long as the solution isn't too thick for th=
e
inherent density of the felt. Does that make any sense?</FONT></DIV>
<DIV><FONT size=3> Dale</FONT></DIV>
<DIV> </DIV>
<DIV> </DIV>
<DIV><FONT style="BACKGROUND-COLOR: transparent" face=Arial color=#000=
000
size=2>I absolutely defer to Eric S's teaching on the subject, but I think=
you
will find a different practice in C&A, and my current use of whatever
chemical hardener is <STRONG>some directly on the strke point only, and let =
it
fall over night to the core point</STRONG>, then voice with needles. This, i=
n my
limited experience, is the most effecient approach. I don't want to get into=
a
long debate but no one else has put this forward in this thread and at
least a few of us are doing this for several years now with a good meas=
ure
of success. Have fun, </FONT></DIV>
<DIV> </DIV>
<BLOCKQUOTE
style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: blue 2px solid"><=
FONT
style="BACKGROUND-COLOR: transparent" face=Arial color=#000000 size=
=2>Chris
Solliday</FONT></BLOCKQUOTE>
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