The Teflon Paste

When completing an application of Teflon powder try this paste.  Place a small amount of Teflon powder in a bowl. Mix in some isopropyl alcohol to make a paste.

Then apply that paste to the leather or buckskin knuckles. The alcohol evaporates quickly and leaves only the Teflon. Applied this way keeps the Teflon dust down to a minimum.

I have also found that the alcohol allows the Teflon to migrate further into the fibres of the buckskin. After several applications over time, even when the knuckles are brushed, one can see that a certain amount of Teflon remains impregnated in the material of the knuckle. 

Another observation I have with this paste is the fact that at times the paste will shrink the knuckle buckskin a certain amount. This is beneficial when technicians find certain knuckles have gone soft from use, which is the buckskin stretching. The paste can be used in certain circumstances to replace bolstering.  At times, if I am aware that the knuckle materials are soft prior to applying this paste, I will use the 70% isopropyl instead of the usual 91% solution. The added water in the 70% helps to shrink the buckskin making the knuckle hard again.

I would recommend mixing this up in small batches, otherwise the alcohol evaporates before you get a chance to use the mixture and you will have to remix.

I cannot claim the original as my own. This came to me a few years ago from Jerry Groot RPT who lives in Grand Rapids, Michigan. Thanks Jerry!

Here is a set of photos showing the Teflon paste.

Teflon Paste 

Williams Piano Company

Williams Piano Company of Oshawa was another leading Canadian piano company that developed a rather unique response to compete with the new Heintzman plate design.

Robert Sugden Williams had a new plate designed called New Scale Williams. This involved a new plate flange similar in look to the Heintzman Patented Agraffe bridge flange.

In the New Scale Williams design holes were not drilled into the flange itself but an agraffe was set into the backside of the flange, in what I have called a reverse agraffe assembly.  

Recently I came across one of these instruments and took a series of photos of this particular set-up.

I can imagine if one of these agraffes ever broke it would be impossible to repair without removing the entire plate.

Please note that recently Google has changed the Picasa web albums that I use here on this blog. If anyone experiences problems with viewing the photos let me know and I will assist in solving the problem.

The link below is the photo set for the New Scale Williams plate design. 

New Scale Williams

Heintzman & Co of Canada

Finishing a piano scale design on his kitchen table in 1860, this drawing is often thought to be the one that launched his career in the piano building business. By 1866 enough capital had been raised for Theodore Heintzman to open his own factory.

By 1879 more than 1,000 instruments had been manufactured, and this factory passed the 2,000 mark in 1884 some five years later.

In 1896 Theodore Heintzman completed a drawing of a particular plate design that would catapult the Heintzman Piano Co to the top of the Canadian piano market, where this company would remain for more than 100 years.  
This plate design incorporated what is called the Patented Agraffe Bridge. This bridge takes the place of the pressure bar assembly usually found in upright pianos. In the grand piano, this bridge takes the place of the v-bar design which the strings pass under. 

The bridge has holes drilled at 7-10 degrees angle for bearing purposes. Each piece of treble piano wire must pass through one of the holes and then be attached at both the hitch pin and the tuning pin. 

This particular piano plate design causes the Canadian Heintzman piano to be one of the most difficult pianos to re-string. In the upright version, one can tilt the piano over onto a tilting piano truck which will help to find the hole for each piece of wire. Another way to accomplish restringing of an upright with this bridge is to have a mirror placed underneath the working area and a lamp on top to shine light into the holes.

In the grand version of this piano the flange with the holes cannot be seen at all from either the tuning pin side or the sounding board side of the plate. Also, because the grand piano pin block must be supported from underneath when driving the pins in, usually a small mirror is used or the job is done by feel only. 

 One of the benefits of having this type of design is to keep each piano string of the unison equal distance away from each other for quality sound and for equal hammer wear over the entire surface of the hammer strike point. 

Another benefit of this type of design is to prevent bridge roll. Bridge roll syndrome is when the treble bridge attached to the piano sounding board is slowly dragged, in a lengthwise rolling motion, towards the player over years being under tremendous tension. This is often one of the contributing factors in the sounding board deterioration of pianos. 
 
Here are some photos of the Heintzman & Co Patented Agraffe Bridge. Both the upright version and the grand version of this design are shown here.

HeintzmanCoPatentedAgraffeBridge

Grand Piano Restoration: Keyboard Set-up

 The key frame at this point had the old felts removed and has been fitted with the replacement felts measured for correct size against the original. The key frame is then fitted into the cavity of the instrument and checked for warping against the key bed and shimmed if necessary. 

Once the key set is completely restored with new bushing felt, new buckskin back checks, damper lifter felts, and the capstans polished, the key set is ready to be returned to the key frame and set up with the correct geometry using felt and paper punching to lift or lower the key set.

Here are some photos of that process being completed.

Keyboard Set-up 

A Tuner’s Life 5

 Last week I had a pretty special morning. A teacher had called and asked if they could have a piano tuned and have a demonstration at the same time. Nothing special about tuning with the exception that this was the Jericho Hill School for Deaf Children.

About 15-20 kids in the class total. Many of them were not completely without hearing and they were amazed at the sound of beats between two out- of- tune strings. I used some in the temperament octave to demonstrate. Many of the children wanted to put their hands on the piano to feel the tuning rather than hear it……

But there is always one child right??

This very small boy……. (small for his age), was kind of hanging back in the background. I asked if he was interested too because when most of the children are looking and touching, he was just looking. I sensed that maybe he was a bit shy, before the teacher informed me that he could not speak either.

I stopped what I was doing and moved my tool box to the end of the bench, then looking at him directly I patted the available space on the bench. Well this boy practically ran people over to get to sit on the end of the bench….. The teacher told me that this fellow just loves anything that moves… (mechanical motion).

After I started to actually tune for real, most of the children lost interest somewhat, and moved onto other sources of entertainment. But not this one fellow, he sat on the end of the bench…..when I used a wire mute and then turned for another one; he got one out of my toolbox and handed it to me…..then another one. I showed him where the bass mutes were and allowed him to hand me those ones too….

A couple of times he got off the bench to see what I was doing and I had to get the teacher to sign for me so that the boy could understand what my response was. At the end of the tuning he carried my small box of tools out to the car and then ran quickly back inside…. At the door of the school he looked back and gave me a big wave goodbye………….a very special day for him too…..

I drove back to the shop thinking about that movie with William Hurt.

Grand Piano Restoration: Ivory Repairs 2

To continue with piano ivory repairs here is the method I use for replacing the tail. I have found when replacing piano ivory head and tail it is best to set the tail last. By setting the tail last this will give the proper length of the head over the front of the key. 

 In the previous blog posting on piano ivory restoration, we set a new head to a pre-existing tail. Just to review, the new head only fit in that case because the manufacturer of the piano (Heintzman) had a consistency of ivory products, so for that piano maker the heads and tails are interchangeable under certain conditions.

Most of the time it is best to replace the head and tail as matching original heads to the original tail gives the best results.

In order to complete this task properly, I start by clamping the tail without any glue (dry fit) into place using the old marks left by the original tail and head. Usually the line of the tail end is left on the wooden key along with a line where the head and tail bond together. Once the tail is dry fit into place, the head can be set with adhesive as shown in the previous posting on repairing piano ivory. Then, once the head is dry, the clamps and plate can be removed and then the tail glued into place. I usually leave the head and clamps in place as I will need them for replacing and setting the tail.

I always put a little horizontal pressure on the tail by making the set points with the clamps a little too small. Once the head is set and dry it will not move; then the tail can be set correctly without checking the measurements.

The tools are the same for setting the tails; the iron to heat the plates, the choice of original pre-mixed glue, or the glue wafers, and the plates for the tails which are slightly different but used in the same way. 

Here is a photo set of how I set the tail on replacement piano ivory.

Ivory Replacement Tail

Grand Piano Restoration: Ivory Repairs

One of the most time consuming and painstaking tasks associated with piano restoration, ivory  repair rates up there as one of the most difficult to accomplish properly.

The removal of old broken or chipped ivory is fairly easy and straight forward to complete. The original ivory glue is heat and water activated so heat and water make it soft once again.

I have found over years of practice that for most ivory repairs it is a waste of time to try to match existing pieces with another head or tail. If one side of the ivory, either the head or tail, is missing or chipped, I have found it best to replace both pieces. When replacing both pieces the difficulty of matching the seam between the head and tail of different qualities of ivory does not present itself as a problem.

Here are two of the most common ways to repair ivory; first using the pre-glued linen wafers, and then using the original premixed hide glue readily available from suppliers in Germany.

 Unless ivory repairs are done all the time one gets out of practice immediately.

At times, with certain manufacturers, ivory pieces can be retrofitted from one head or tail to another but very few companies had a continual supply of ivory that was identical in grade and quality. With the Heintzman Company of Canada the quality of the ivory was quite consistent so I am able to replace a chipped head only in this case.

Whether replacing just the head or doing the complete head and tail assembly, I have found it best to set the head first. This is to obtain the correct length over the leading edge of the key. Here is a photo album of setting an ivory head against an existing tail with text instructions underneath each photo. 

Ivory Head Replacement