Subject: Time: 10:47 PM OFFICE MEMO RE Damper Wheeze Date: 2/7/95 --ORIGINAL POST-- Anybody have tricks on getting rid of damper lift noise in the trichord wedges. I was called in at a fancy recording studio, whose Yamaha C7F Disklavier had a noisy sustain pedal. The dampers in this region (16 in all) have trichords front and back, ruling out the chance of a Steinway style solution (favoring the flats over the wedges). My first idea was to replace the back wedges with flats. Mark at Yamaha said try trimming the portion of the wedges which hang underneath the string and to iron the sides of the wedges (to smooth down any stray fibers which might be sticking out. Neither of these worked. The only thing which did was the introduction of the flat pads (and that works to the extent that you leave the balance of pressure between the front and back towards the side where you begin to notice the softness of flat-pad damping.) Of course, they can also pull the mikes out from under the lid, and make sure that when it comes time for the quiet passages which will show up the "heartbreak of damper emphysema", the pianist has the sense not to approach the sustain pedal as a hot-rodder would pealing out on a green light. Any ideas? Bill Ballard RPT "May you work on interesting pianos." NH Chapter, PTG Ancient Chinese Proverb -- REPLY -- The older Yamahas used trichord wedges made of felt with a vertical grain orientation. It was very easy to get positive damping with this felt initially, but it became string cut rather quickly and was more problematic with the wheeze (I've heard the term whoosh used, also) when using the sustain pedal. Does your piano have the vertical grain wedge? If so, get rid of it. Yamaha can now supply you with a trichord wedge made with felt with a horizontal grain orientation. The felt has a good density (not too hard and not too soft so it damps pretty well but lasts fairly long) and also has a good shape so it fits into the strings well. Also, polishing srings with polita might alleviate some of the problem. Ken Sloane, Oberlin Conservatory
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