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<DIV><SPAN class=500440602-20092006><FONT face=Arial color=#0000ff size=2>In the
Rappaport's hammer hanging class that I took quite a few years ago, I clearly
remember that when gluing the hammers, we were NOT looking for them to be
straight (perpendicular to the hammer line). Pris was telling us to hang them so
they would travel straight. So, at rest, they would look funny, but, the
traveling part was real easy. We just had to look at the crooked ones and then
shim the flange to put them straight and VOILA. She said this is the way it was
done in Europe in different shops. </FONT></SPAN></DIV>
<DIV><SPAN class=500440602-20092006><FONT face=Arial color=#0000ff
size=2></FONT></SPAN> </DIV>
<DIV><SPAN class=500440602-20092006><FONT face=Arial color=#0000ff size=2>Marcel
Carey, RPT</FONT></SPAN></DIV>
<DIV><SPAN class=500440602-20092006><FONT face=Arial color=#0000ff
size=2>Sherbrooke, QC</FONT></SPAN></DIV>
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<DIV class=OutlookMessageHeader lang=fr dir=ltr align=left><FONT face=Tahoma
size=2>-----Message d'origine-----<BR><B>De :</B>
pianotech-bounces@ptg.org [mailto:pianotech-bounces@ptg.org] <B>De la part
de</B> David Ilvedson<BR><B>Envoyé :</B> 19 septembre 2006
15:07<BR><B>À :</B> ed440@mindspring.com;
pianotech@ptg.org<BR><B>Objet :</B> Re: hammer
travel<BR><BR></FONT></DIV>The important thing is the spacing on either side
of the hammer. If one side is getting squished or compressed the
hammers is traveling in that direction and needs traveling. I
remember a hammer hanging class by Pris Rappaport years ago where she
purposely put traveling paper under one flange on each hanging jig. Once
hammers were hung, we removed the traveling paper and she showed us the
burning in technique. She demonstrated the same thing in LA last
year or so. Specifically mentioning the squeezing of space on one side
of the hammer. She does not travel the shanks except for some
really out there ones. I, personally, think traveling the shanks
makes sense before hanging the hammers. The angled hammers hung at
strike point, perfectly at 90 degrees will naturally take on a cant when at
rest. <BR><BR>David Ilvedson, RPT<BR>Pacifica, CA 94044<BR><BR><BR>
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Original message<BR>From: ed440@mindspring.com<BR>To: "Pianotech List"
<PIANOTECH@PTG.ORG><BR>Received: 9/19/2006 6:05:58 AM<BR>Subject: Re: hammer
travel<BR><BR>
<DIV align=left>Tapered hammers can give the illusion of traveling
horizontally when you play them one at a time. Change the rake and you
change the illusion. Get the hammer straight up, and you stop the
"travel" and maybe get a better hammer/string allignment.</DIV>
<DIV>Ed S.<BR><BR><BR></DIV>
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style="PADDING-LEFT: 5px; MARGIN-LEFT: 0px; BORDER-LEFT: #0000ff 2px solid">-----Original
Message----- <BR>From: Farrell <MFARREL2@TAMPABAY.RR.COM><BR>Sent: Sep 19,
2006 8:28 AM <BR>To: Pianotech List <PIANOTECH@PTG.ORG><BR>Subject: Re:
hammer travel <BR><BR><ZZZHTML><ZZZHEAD><ZZZMETA
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<DIV><FONT face=Arial size=2>Maybe I'm missing something here - and maybe
I'm just going to show off some of my ignorance - hanging hammers is
not my expertise - but how will bending the shank affect hammer travel?
Seems to me if a hammer travel has a horizontal component (you don't
want any - all movement should be vertical) during its travel through
its arc, the solution is to travel the hammer/shank/flange by inserting the
appropriate thickness of traveling paper under the flange (in this case on
the bass side of the flange screw). If you bend the shank, yes you can move
the hammer over one way or another, but it will still have a horizontal
travel component.</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV><FONT face=Arial size=2>Yes?</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV><FONT face=Arial size=2>Terry Farrell</FONT></DIV>
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<DIV style="FONT: 10pt arial">----- Original Message ----- </DIV>
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<P>A few days ago I had an interesting experience with a Baldwin D Concert
Grand. New Ronsen Wurzens and shanks/flanges(not sure what the
brand was). I had noticed lately that the hammers were traveling
towards the bass, i.e. depress the key and the space on the bass side of
the moving hammer and its neighbor was compressing. I went
through and started at the first tenor burning it in. That is
heating the shank with an Ungar heat gun and twisting the hammer towards
the direction of compression or in the instance the bass. I
then spaced the hammer back between its neighbors and
check it again. When it was right, I immediately noticed
the tone of the hammer was blooming...opening up...I did have to fit the
hammer to the string which fixed some buzzing
sounds. I was really able to hear this difference
because I still had an original hammer one note up. ! ;
</P>
<P> </P>
<P>This is a really important part of hanging hammers. Travel
the shanks first, hang the hammers, then travel the hammers with a heat
gun. Yamaha Concert Services said the same thing...big part of
voicing the hammers...</P>
<P> </P>
<P>There are a number of hammer hanging articles PTG sells in a
combilation, for instance Cliff Gears and Steve Brady which expond on
this...</P>
<P><BR>David Ilvedson, RPT<BR>Pacifica, CA
94044<BR><BR></P></BLOCKQUOTE></ZZZBODY></ZZZHTML></BLOCKQUOTE></DIV></BLOCKQUOTE></BODY></HTML>