<HTML>In a message dated 7/31/2002 4:31:08 AM Pacific Daylight Time, Richard.Brekne@grieg.uib.no writes: <BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">Phil Bondi wrote: > > There was alot of sizzle(for lack of a better word) at FFF on various notes. > > -Using a single needled tool, deep needle twice on either side of the strike > point, around 10:00.. > -1 deep needle per side into the side of the hammer, as close to the strike > point without seeing the needle. > > This gave favorable results..actually, darn good results. </BLOCKQUOTE>          Phil         There is a reason your results were more favorable by going deep with a couple strokes rather than the more temporary method of (sugar or top coating) shallow strokes in the strike point. Your changing the string contact time and the shape of the traveling wave which has in it the encoded tonal information. Neat huh? Also Practice using the single needle tech as a felt density probe. There is a feel that can be developed with practice as to when a spot in the hammer is too hard or not. This is a very effective tool.     On hard (or very stiff) hammers it's possible to over needle the shouders and still have to much sizzle (high metalic partials)and not enough clang (middle partials) or boom ( lower partials). Since the whole hammer is to act as a variable rate spring the method of excess shoulder needling simply disconnects the top from the shoulders without much tonal chamge. You can be just needling away but nothing is happening Wrong. Yes, the shoulders are now moving  but unsupportive. My Opinion is that the shoulders on most hot pressed or hard hammers are not that strong or supportive of the middle of the hammer any way so don't over do it.     In the hot pressed hammer the top and directly underneath down to the molding is still the hardest  zone of the hammer. The sizzle sound comes largely from string compression marks and the too much felt stiffness clear down to the molding. The felt is not moving.      The clang sound comes from the correct stiffness in the middle and the boom comes from the shoulders and felt over and around the top of the molding being less than stone hard -- something like the stiffness of a small super ball if you wish to have a visual picture.    SOOOO when you deep needle thru the top and and also just at the ends of the string marks at the appropriate time in the process you affect all three elements of the sound -- sizzle, clang and boom. This achievable with a minimum of needle strokes and the effect is far more permanent than shallow needling. Sustain will improve as well as tonal balance and overall clarity. This technique is probably non detrimental up to 4-8 strokes.  More than that will (could) weaken the hammer and the tone will remain a bit mushy (or dark). Not to worry. If you do nothing and the piano plays back in the sound will recover (usually) to a very nice level. Or use fine sandpaper(400-600) over the top to file off loose fibers and massage the top which repacks the felt. Iron, tap with the back of your voicing tool, etc., to recompact the felt.       Light juice a very last choice. Hey  It's not that dangerous.        Shallow needling should IMO be reserved for just minor cleaning up of the sound. I rarely do it myself.      Voiving --Just the tip of the ice berg.        Dale Erwin </HTML>