Jeff, I've re-strung just prior to a demanding concert, and survived, but would not do this again if I had the choice. (and I guess I had!?) Over this past Christmas break (where has winter gone?), I had an assistant re-string trebles on several 92' Kawai's, and the pitch drop (despite comprehensive string seating/forming from h-pin to t-pin) was quite a surprise! I would wait. Regarding bridgework, as Fred suggests, I would (and do) replace the bridge-pins. Though you won't have access under the struts, removing the remainder allows you to service the bridge-top. Sand this down carefully with a hard block (careful not to round-over) until the string cuts almost disappear. When you prepare to re-notch (terminating slice just "a hair back of centre" of the bridge-pin holes) you will be surprised to see how much wood has "crept" out into the speaking length! (the results perhaps of some vigilant false-beat hunting? :>) Indeed my own at one point in time.) I use epoxy with all bridge-pin replacement, presuming it's moisture-blocking properties to reduce the seasonal shrink/swell that leads to loose bridge-pins. I'm unawares as to whether CA can provide the same. Furthermore, the method I've used since 1994, (Bill Spurlock; "bridge re-conditioning" PTJournal; March 1992) includes a most satisfying clean-up method, where surplus epoxy is diluted with acetone, and soaks into and seals the raw wood. I'm certain the resultant "factory-fresh" appearance wouldn't be possible with fast-drying CA glue, not within my skill-set, anyhow. Finally Jeff, though I've re-read your original question and think our replies are "on-point," have to tell you, given the instrument you describe, along with it's age, use and potential, I would be doing a "full re-stringing." As a matter of fact, did so here in 99' on a then 11-year-old D, with no more than the very same symptoms you describe. Though the carefull work we've been discussing is essential, and will be more than worthwhile, the startling transformation to the "whole instrument" possible with new bass-strings can positively "eclipse" the transformation of the treble alone, (IMHE). I had better qualify this. In past, I've installed new bass strings that sounded precisely as disappointing and non-musical as the originals. No surprise here, both original and replacements were from the same source. On the otherhand, the maker's strings I've used over the last decade, consistantly add a distinctive and outstanding musical quality to my work, beyond anything I can take personal credit for. As a result, I look for EVERY opportunity to allow this wonderful product to increase my client's joy with their piano, and likewise their appreciation for my work. (geeez this is sounding like a sales pitch, sorry!) The 1988 "D" mentioned above could certainly be no exception. If you can go straight to the point for funding, and have realistic working time, I wouldn't miss the opportunity to "knock this one out of the ballpark!" And by the way, in perhaps 2 or 3 years, I "will" plan on a partial re-stringing of the 1988 D, however, fully expect to be able to re-use all my careful bridge work from 99', and enjoy the luscious bass for at least another decade. I hope this hasn't confused the issue for you, but it is the very best advice I can offer. thanks, Mark Cramer, Brandon University -----Original Message----- From: caut-bounces@ptg.org [mailto:caut-bounces@ptg.org]On Behalf Of Jeff Stickney Sent: Saturday, March 27, 2004 1:01 PM To: 'College and University Technicians' Subject: RE: Tuning stability Ric, Fred, Mark and all, I'm convinced that partial restringing would benefit the piano and my frustration level. The question I have at this point is this: If I go ahead with the work next week (spring break), would the new strings be stable enough to be used the next week? I have restrung pianos before, and would know to seat and lift strings to establish the bends (after the piano is at pitch - or maybe a little above), but I haven't done a partial job with the mix of old and new strings. Would it be best to wait until the end of the semester when I would not be under the gun as much to get it done and back in action? If you think it would be doable, any other ideas to hasten the stability? Leave the piano at 442 for a few days? Would it be best to do one section at a time, rather than unstring the whole mid-range to the top at once? If I use CA on the bridge pins, it would probably work better to do them all at once so it can set up - or can you string fairly soon after applying the CA? Sorry to be so full of questions, but if I'm going to stick my neck out a bit, I'd like to do it with the benefit of your experience behind me. I appreciate your input. Thanks, Jeff Stickney, RPT University of Montana jpstickney@montanadsl.net > -----Original Message----- > From: caut-bounces@ptg.org [mailto:caut-bounces@ptg.org] On > Behalf Of Mark Cramer > Sent: Friday, March 26, 2004 2:20 PM > To: College and University Technicians > Subject: RE: Tuning stability > > > Hi Jeff, > > I second Fred's recommendation of a partial re-stringing. I'm > sure you can string the treble very quickly, re-using the > tuning pins and servicing all bearings and terminations. > > I would also suggest servicing the bridge down to the > pin-size transition (Either F#4 or G#4), as the nastiest > false beats (in my experience anyways) are usually a 1/2 > octave either side of the tenor/treble break. > > You will be very pleased, and what's more, will no longer be > tempted to second-guess your tuning abilities. > > But how about getting the authorization to do this essential work? > > >From your comments about the working situation/budgets, etc. > it sounds > >like > your "approach shot" will be critical. May I stick my nose in? > > I would simply write: > > "Our 19XX Steinway is presently overdue for re-stringing. > > As a result, clear stable tuning, particularlily in the > treble, is no longer possible, and conditions now exist for > string-breakage during use. > > This condition is common in the life of a concert piano, > after as little as six or seven year's use, and perhaps > explains why this fine instrument isn't providing the > enjoyment it once did. > > The cost of full re-stringing would be $X,XXX.XX, and will > require a down-time of approximately XX days. > > Alternatively, the piano could be partially re-strung. > > This would address the specific problems we are now > experiencing, at a tremendous savings in cost ($XXX.XX). In > addition, the piano would only be out of service for X days. > > I'm confident everyone will greatly appreciate the > improvement in this fine piano. I wonder if the dates; XXth > - XXth might be best, should you wish to go ahead." > > Just my 2 cents (CDN) worth Jeff. (approximately 1.5 cents U.S.) > > best regards, > Mark Cramer, > Brandon University > > > > > > > -----Original Message----- > From: caut-bounces@ptg.org [mailto:caut-bounces@ptg.org]On > Behalf Of Fred Sturm > Sent: Friday, March 26, 2004 8:46 AM > To: College and University Technicians > Subject: Re: Tuning stability > > > Jeff, > The tuning instability you describe can certainly be > ascribed to a need for restringing. Full restring isn't > usually necessary. Usually the biggest problems are in the > capo section, caused by a combination of string and capo > condition. So a restring of those sections, with a good > dressing and lube of the capo and aliquots (front bars by > tuning pins), will make an enormous positive difference. At > the same time, I would pull all bridge pins from those > sections (except the few that won't get past plate struts), > resurface that section of bridge (get it flat, grooves gone), > renotch, and repin using something to size the bridgepin > holes (I haven't decided if there is a difference between > epoxy and medium to thick CA for the purpose). That will take > care of the false beats. > This is a very good alternative to a complete restring, > and produces quite good results in my experience. I have also > restrung down into the tenor, to the point where the bass > strings cross over. In that case, I brush powdered teflon on > the understring felt (which I can't replace in this partial > job), and don't bother with bridge work more than a few > unisons below the break. > I have had experiences very similar to what you are > describing. Protek on bearing points helps a bit, but only > restringing gets the piano back to a truly tunable state. > Regards, Fred Sturm University of New Mexico > > > _______________________________________________ > caut list info: https://www.moypiano.com/resources/#archives > _______________________________________________ caut list info: https://www.moypiano.com/resources/#archives
This PTG archive page provided courtesy of Moy Piano Service, LLC