pin height, driving fluid, beckets

[Richard Moody]

Joel
	Thanks for the reply.  In spite of all of the careful considerations
of string felt used by makers and rebuilders, it is all negated in
two to three years by people who leave just the front part of the lid
of the piano open because it is too much of a bother to shut it when
not playing or practicing.  What a chore to take the music off the
desk, fold it down and close the lid.  Esp when composing, or using
multi scores for the up comming performance,  choir rehersal, or
recording session, or just plain cramming for the next lesson.  
	The exposure to dust and air pollutants make the strings next to
impossible to render when the tuner comes along.  Don't forget
coughs, breathing, sneezing, and sweat flying, all landing on the
strings from the tuning pins on down to the agraffes. I used to
admonish clients by saying, "If you had a $4,000 violin you would put
it in its case even if you had to answer the phone.  Why not close
the lid on your $14,000 piano? " 
	Of course I had to practice what I preached, so I closed the lid and
put the music desk on top of the piano.  After all the neighbors were
less than 3 feet away, and that made the "noise" less.  That worked
until I had to frantically turn music, or make notes. So then I
realized why grand piano owners don't care about leaving the lid
open. And those that closed  them put potted plants or flower vases
full of water on them. Well so much for the $1,000 violin being left
on the sofa while one is answering email.   
	Joel mentioned about the tuning pin  angles I alluded to, and I 
must appoligize because I did not know how to say the  beckets should
all point in the same direction, as a consideration for a frist class
re-stringing job.  Susan set me "straight" on that one.
	It is difficult sometimes to communicate what we mean, so I hope
that frustration with this medium of technical exchange is only
temporary.  In the mean time I should go and put velcro under the
music desk.  A client turned down my offer to secure it with deck
screws.  ; )  Actually I would like to hear how to make a music
support for a synthesizer. Duct tape has failed three times already. 

Richard M
----------
> From: Joel Rappaport <joelr@flash.net>
> To: pianotech@ptg.org
> Subject: Re: pin height, driving fluid, beckets
> Date: Monday, June 16, 1997 7:44 AM
> 
> Richard brings up some interesting points.
> 
> Richard Moody wrote:
> > 
> > How much the strings bear down on the string felt is how far the
pins
> > will be driven.  IMHO
> 
> This is not so easy to accomplish since there is a variety of
string
> felt used there, just as the strings leave the agraffes or capo, on
the
> way to the tuning pins.  Sometimes it is an extremely firm felt,
> sometimes (especially on rebuilds) it is a soft, fuzzy felt, and
> sometimes it is fiberboard covered with bushing cloth.  Richards's
point
> must be taken seriously by rebuilders (and manufacturers) when they
> choose this felt.  It should be thick and firm enough that when the
> strings bear down, the felt should offer some resistance - and
dampening
> effect - as the string is positioned parallel to the plate on its
way to
> the tuning pin.
> 
> >         Why Steinway had four turns in the upper treble hopefully
will 
> > be answered.
> 
> Let's hear from the experts......Michael?  Stephen?
> 
> > ps Can the stringing job be such that the pins stand at the same
> > degree so that the tuning hammer will be at the same angle?  That
> > WOULD be first class.
> 
> Wouldn't this be in the drilling of the block, if I understand the
> question? 
> Joel Rappaport
> Round Rock, Texas
> 
>