Too much sustain

[Brent.Fischer@asu.edu]

>This is not s snide remark so:
>        You could use some rubber, like a piece of rubber band, under the
>strings near the bridge.  You may have to experiment a bit to get just exactly
>the effect you wish.  This approach will not effect the tone or other
>charastics of the piano but will help to suppress the extra sustain time.
>        If the bridge approach doesn't appeal try some rubber cement directly
>on the strings to experiment.  Rubber cement has the virtue that it is easily
>removed.
>        Would that all pianos had such a problem.
>        There is no room to install more dampers but I have given this much
>thought because of a piano that was made without some dampers in the upper
>area.  If need be I will share my so called thinking.
>        Newton
>        nhunt@rci.rutgers.edu

Hi Newton,

   That's not a bad idea. If this were a performance hall piano I would
try your suggestions right away.  If a passage included ending on note #69,
which is the worst offender, the sustain effect will cloud whatever comes
next on this piano.  I tried Keith's idea and no substantial difference
occured. I recall earlier list discussions on duplex noise abatement
with drops of white glue applied, but I found that it worked well until it
dried, then the effect was much less. I don't believe rubber cement was
suggested, but sounds like it may be a better bet since it shouldn't harden
nearly as much. We'll see.
   William Bailer's "wise crack" about the alleged remarkable qualities
of the rebuilding work can be verified by my assistant, Rick Florence,
a truly outstanding technician in his own right, however, it really
is fairly easy for anyone that is dedicated to careful craftsmanship
to attain a good sustaining top end.  A lot can be said about the effect
of a new board although I have had similiar results in healthy, older
boards, but only if the termination points of the wire are perfect.
That means knowing how to do bridge caps where the  planing of the caps
results in at least a two degree front to back bearing angle on the bridge,
and the drilling, notching, and pinning are exact. The second criteria for
a strong treble sustain is a 1.5 milimeter wide V-bar profile along with
careful dressing of the front duplex bars. The stringing step makes a huge
difference in sustain and clarity and is really easy. Once the wire is
rendered under the bar and tension is being pulled up, decide just where
the unision should be and never, ever move it from the impression it has
just made into the V-bar. I think many old boards that are still healthy
and are saved in the rebuilding process are not given their best chance to
project because of neglecting these steps. I have seen many restorations
that could have been more successful if these areas were given more
attention.

   Thanks for offering your help and it looks like there is room to
extend the underlever tray by carving out the crossblock where necessary
and then making a new damper guide rail to fit. I have old damper trays
where I could cut a short section and glue it to the  original and then
re-install the endblock. However, the piano is already delivered to  quite
a happy customer who thinks it just sounds fine. So how about if we just
leave the sleeping dog alone?  Sincerely, Brent



Brent.Fischer@ASU.EDU
Arizona State University/Tempe