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<BLOCKQUOTE style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: blue =
2px solid"><FONT face=Arial size=3><BR><BR>Again... no one said anything=
about NY Steinway being on a wrong path... <BR>nor did anyone out of hand c=
ondemn lacquering or anything of the sort. <BR>I DID raise the questio=
n whether reaching for the bottle of juice had <BR>become a little too easy =
for many technicians....irregardless of where <BR>they live. Lacquer D=
OES ruin a hammer from the perspective of any <BR>future needling-up. But of=
course it does not <<ruin>> a hammer from <BR>some other perspe=
ctive. </FONT></BLOCKQUOTE>
<DIV> >><FONT size=3><STRONG>Yeah but Ric</STRONG> </FONT=
><FONT size=4>if lacquer ruins a hammer then it does sound like condemnati=
on. A lacquered hammer done properly so it so the tone opens up with playing=
time is a different way of getting the tone up.</FONT></DIV>
<BLOCKQUOTE style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: blue =
2px solid"><FONT face=Arial size=3> Juice in the right place can in=
crease power; in the wrong place can <BR>> actually reduce it. Same with =
needles.<BR><BR>I dont think Juice in the right place can increase power... =
only more <BR>tension can do that... at least as I understand the word power=
. Juice <BR>can increase volume... loudness if you will. </FONT></BLOC=
KQUOTE>
<DIV>>><FONT size=4> Care to help me understand this? Really it SOun=
ds like semantics to me. Have you ever tried this technique successfully ?</=
FONT></DIV>
<DIV><FONT size=4> I've done ti both ways. Power is power: defined it=
means volumne or sound pressure with a changing balance of partials &a=
mp; different levels.</FONT></DIV>
<BLOCKQUOTE style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: blue =
2px solid"><FONT face=Arial size=3>Juice raises the stiffness of a hamme=
r (somewhat selectively, <BR>> depending upon where it is applied), but d=
oes not need to reduce its <BR>> resilience, if it is used to stiffen fib=
ers rather than glue them <BR>> together.<BR><BR>I dont really see how ad=
ding any significant amount of any type of <BR>hardner can avoid reducing a =
hammer resilience. The nature of how felt <BR>is made to begin with rather d=
ictates this. If you coat a fiber with <BR>hardner, you dont just make it st=
iffer in one direction... you make it <BR>stiffer in all directions... longi=
tudinally as well. Not to mention how <BR>the felting itself is affect=
ed. </FONT></BLOCKQUOTE>
<DIV><FONT size=4>>>> This is the conceptual point I seem to have=
trouble communicating. If a softer hammer has to much resilience=
I need to decrease it so I add a stiffening solution. What I need is =
limited resilience. So do you. </FONT></DIV>
<DIV><FONT size=4> You also have limited resilience With =
the harder pressed hammers because they are made with more heat &a=
mp; pressure actually reduces resilience as well only one hammer produce dar=
ker sounds initially & the other brighter & sometimes choked sounds.=
The harder version usually have less initial springiness than the form=
er.</FONT></DIV>
<DIV><FONT size=4> These extremes of heat & pressure also =
work against the way felt is made. The springy wool is now made unspringy or=
less resilience. </FONT></DIV>
<DIV><FONT size=4> I see stiffness as stiffness. If I have the=
same stiffness or springiness with a moderately lacquered hammers as I do w=
ith a moderately hard pressed hammer. I will have a similar tone but not exa=
ct.</FONT></DIV>
<DIV><FONT size=4> I want to save that one for the next post. It's Fr=
iday after all</FONT><FONT size=4> Regards.</FONT></DIV>
<DIV><FONT size=4> DalePs</FONT></DIV>
<DIV><FONT size=4> I want to talk tension next</FONT></DIV>
<DIV><FONT size=4></FONT> </DIV>
<BLOCKQUOTE style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: blue =
2px solid"><FONT lang=0 face=Arial size=2 FAMILY="SANSSERIF" PTSIZE=
="10">Erwins Pianos Restorations <BR>4721 Parker Rd.<BR>Modesto, Ca 95357<=
BR>209-577-8397<BR>Rebuilt Steinway , Mason &Hamlin Sales<BR>www.Erwinsp=
iano.com</FONT></BLOCKQUOTE></BODY></HTML>