Restringing

[Danny Moore]

Avery Todd wrote:

>    Since treble then bass *is* rather obvious, :-) don't you think John might
> have been referring to whether to start stringing in the tenor or the treble?

Actually Avery, I think he was referring to pulling the tension up in a manor that
is not likely to place undue stress on the plate and thus, break it (like the
scenario Warren found himself in a short while ago.)

OK, now that I've put words in John's mouth, I'll address the issue.  As I said
originally - support the pin block.  Driving pins unsupported will virtually
guarantee damage to the pin block, and probably the plate.  That said again, I
would suggest starting at the treble and working left if you are right handed.
Start at the tenor and work right if you are left handed.  This assumes that a
righty holds the pin/driving tool with his left hand and the maul with his right,
vice-versa for a lefty.  This keeps your hand that contacts the plate resting on
flat iron rather than tuning pins.  Also, it's easier to keep the wire straight in
areas with no agraffes.

Initially, pull all wires up to about an octave low.  This is enough to keep the
coils tight and the strings in line with everything, but not enough to stress the
plate.  It seems obvious, but like everybody else said, string the tenor/treble
first before you put on the bass section.

Before you put any real tension on the strings, make sure all the plate bolts,
nose bolts and pin block bolts are tight.  The object is to leave the plate in the
piano in one piece.

After all strings are on and its time to chip tune - well, this is the area where
we all do it differently.  If its  about an octave low across the instrument, I
usually start at the temperament, tuning the middle strings only, and bring each
center string up to pitch.  I don't over-pull like a pitch raise, just up to pitch
the first time.   Set the temperament (center string only), tune down to bottom of
tenor and up to top of treble (center string only).  Go to the bass and tune 1
string of each bi-chord, and the mono-chords.

Then back to the tenor/treble, pulling up only one (I start with the left) string
of each tri-chord.  Then to bass, pulling up the remaining bi-chords.  Fianlly
back to tenor/treble pulling up the remaining string of the unison.

By now, you'll probably be about a whole step low or more.  Do it again until
you're within a half step across the piano.  When you're within a half step, treat
it as any other half step pitch raise.

When its at pitch, you can then level the strings and mate the hammers to the
strings.  (What do you get when you mate a hammer and a string?)  Then you tune,
tune, tune.

DISCLAIMER:  This is not presented as "the Right Way" - it is, however, "My Way."
I have never broken a plate, cracked a sound board or rolled a bridge off the
board using this method.  However, when I get through with lunch and go back out
to the shop, this afternoon could be the first!

I welcome all suggestions, comments, corrections and criticisms from everyone
else.

Final note:  EYE PROTECTION and EAR PROTECTION is REQUIRED ! ! ! ! ! !

Danny Moore
http://www.setexas.com/danmoore/