Tunability and tone performance are two different things, but they can sometimes be related. The tunability problems with the 1098 are mostly restricted to the upper two treble sections. It is here that the piano uses cast pressure bars that attempt to provide tuned duplex string segments between the V-bar and the pressure bar. Regardless of whether the tuned aliquot system is a good thing or not, it doesn't work well in vertical pianos. Without going to true heroics, the V-bar on a vertical plate cannot easily be made high enough to accommodate both the tuned aliquot design and still provide enough string deflection to adequately terminate the speaking portion of the string. There is more bleed through than is generally considered acoustically acceptable. It is this lack of string deflection that leads to the tunability problem. No matter how good a tuner you are now, most of us are still among that group that are not yet perfect. The friction between the string and the bearing points provided by the V-bar/bearing bar offset provides a bit of stability insurance for those of us who have not yet attained tuning perfection. Learning proper tuning hammer technique will enable you to nearly equalize the tensions within the various string segments, but you probably won't ever get them exactly right. Nor will you leave the tuning pin without some minute amount of twist and/or bend. You'll get better with time, but you won't ever be perfect. Striking the key as hard as it will normally be played by an aggressive pianist -- I prefer to not use the word "pound" -- will help a bit more, but still the tensions won't be exactly equal. Friction supplies the insurance that we need to keep the tension of the speaking length constant in this world of imperfection. The 1098 has too little friction to accomplish this function. Z! Reinhardt wrote: > I love 1098s!!! Although I admit I am very curious what Del could do with > one when given the opportunity and necessary funds to work his magic. > Meanwhile I have to do what I can with what I have in my customer base. What would I do? Well, let's see: (Actually, I've already done most of this ...) I'd disassemble the piano and remove the soundboard. I'd design a new soundboard and rib system. I'd make a new tenor bridge to accommodate an updated stringing scale. I'd increase the height of the V-bar (never mind how!). I'd make patterns and have new pressure bars cast out of either silicone or manganese bronze moving the bearing point closer to the V-bar, increasing the string deflection angle in the process. That new bridge would be enough higher than the original to maintain proper downbearing with the taller V-bar. I'd replace the original hitch pins with one of several types of vertical pins. I'd restring the piano using that new stringing scale mentioned earlier. I'd put on a set of nice new Steinway hammers that I would get fresh out of the press, i.e., before any factory shaping was done. The completed piano would have a much cleaner bass, a transparent bass/tenor break and an upper tenor and treble section like you've rarely heard before. A vertical piano truly worthy of its name. And, while I'd probably have fun doing the project, I'd probably lose money on it. Regards, Del
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