--- ORIGINAL POST ---
<< It's a complicated job, especially getting two different frames (one a
Pratt Reed, the other a Kluge) to work in the same action cavity, but it was
a hell of alot of fun, too.>>
I'm interested in the adaptations necessary. Presumbaly if the new
Kluge/Steinway keyframe was oversized, it was a matter of stock removal to
get the new one to match the old, like with a block or board replacement.
Probably if the two frames' cross-rail locations didn't match, getting the
UC. shift lever to pick up the new frame might be the trickiest part of that
I could imagine.
Write that up some time!
Bill Ballard RPT "All God's Children got Rythm"
NH Chapter, PTG Ivy Anderson in "A Day at the Races"
--- MY REPLY ---
Shift lever not real problematic; had to shim a cross rail on the new frame.
Worst problems due to fact that octave is wider with the Kluge keyboard; about
1/16" -- adds about 3/8" total width to the keyboard. Had to make a new treble
cheek block to use with the new frame. Old Treble cheek block used with the old.
Also, sharps are longer on the Kluge and the position of the fallboard had to be
considered. This became more of a problem when I decided to mount the capstans
on the keys of the new frame to have a ratio that favored less capstan travel
per unit of key front travel (as compared to the old frame). I wanted the keys
on the new frame to be closer to a 2:1 ratio. This forced me to mount the hammer
farther out on the shank than recommended or to move the fallboard. Other quirks
appeared as the project progressed. If you want to know more about it, come to
the national in Albuquerque (spelled right!!). I'm teaching a class on the
project and have it documented with slides. Cheers!
Ken Sloane, Oberlin Conservatory
PS - Project requires sharp chisels and plane and some experience with them.
This PTG archive page provided courtesy of Moy Piano Service, LLC