> > pianotech-digest Friday, March 19 1999 Volume 1997 : Number 1556 > > > > > ---------------------------------------------------------------------- > > Date: Fri, 19 Mar 1999 20:34:02 -0500 > From: btrout@desupernet.net > Subject: Re: Thoughts on soundboards...you out there Ron? > > Hi Ron, > > Ron Nossaman wrote: > >> * Good thinking. Then you have the chain jump off the hoist and land smack >> among the hitch pins of octave six when you go to install it. I'll put the >> last coat on it... again... I hope, tomorrow. There's definitely something >> evil about octave six. %-) And yes, I did finally make a sort of guard for >> the chain. Hope you have better luck. >> >> Actually, I don't use a chain for lifting plates in and out. I use a block and >> tackle type setup for the lifting, but it's all done from a single point... I'll >> try to explain. Attached to the plate I use straps, kind of like what you'd use >> to strap a piano to a skid board if you were moving it. (About 2 inches wide, >> flat...) Usually, I use two of them, one from side to side in the front near the >> pinblock area, and one from side to side in the back, somewhere around the nose, >> it's not that critical. Both straps go through a metal ring (aprox. 3" > in diam.), >> and the hook on the end of the block and tackle gets put through the ring to lift >> and lower. Sounds like a pretty big juggling act, but once you've done a couple, >> it gets pretty easy to guestimate where the bugger will likely balance. > I've done >> it several times all by myself, but it feels better having a helper. Anyway, no >> chain. The worst thing that happens for me is when I forget myself and take the >> ring off of the hook and accidentally drop it. It ALWAYS lands smack in the >> center of the soundboard and leaves me a nice little dent (which usually I'm the >> only one who knows it's there, but it'll bug me!). >> >> * That's about it, except I use a belt sander with boulder grit (40). >> >> Kind of reminds me of a show on PBS. The Furniture Guys. I don't know if you've >> seen them, they're a riot. They were doing a show on furniture distressing one >> time and one of their 'tools' was a big sort of square shaped rock, maybe 4 or 5 >> in. square... they called it #1 grit sandpaper. Ha, ha. Anyway I got a kick out >> of it... > >> * Hmmm, that would probably be #2 shmutz. Really, I don't know. Some folks >> habitually fit the plate with epoxy, but others think that's wrong. I >> normally don't, but I have when the fitting process wasn't getting me there >> well enough because of some weird plate configuration. > > I don't have any #2 shmutz. (or any #1 or #3 shmutz either, for that matter.) I > just keep workin' on that thing till it fits. Sometimes it's just a couple of > hours, sometimes it's most all day. Some go well, some don't go so well. > > During those hours of fitting, I sometimes dream of ways to build some kind of jig > (for a router, maybe) to make the pinblock to fit the plate Exactly and precisely. > Perhaps with a CNC router... Well, needless to say, I always get done fitting the > pinblock before I work out the details... and don't think about it again till the > next pinblock, at which time the thought process starts all over again, at the > beginning...) > > Good to talk to you, Ron. > > Have a good weekend. > > Brian > > ------------------------------ > > Date: Fri, 19 Mar 1999 20:33:54 -0500 > From: btrout@desupernet.net > Subject: Fitting pinblocks & side to side registry > > Hi all, > > First thanks for all the responses about fitting pinblocks. I feel a > little sheepish now that I think about it. I worked a number of years > in construction and I should have known what the stuff was that we put > into the chalk line... (sheepish grin...) > > As far a keeping track of where a pinblock is from side to side, I > usually will use a pencil mark on each end of the pinblock, somewhere > where it will make sense to me. It might be a mark which will line up > with a corner of the plate. If you wanted to, you could attach > something like a block of wood to the side of the plate with a bar clamp > and use an index line. There are probably a hundred ways. The main > thing is that you make a mark that means something to you. Something > that won't move when you don't want it to. Something simple and easy. > You'll figure it out. > > Best wishes, > > Brian Trout > Quarryville, Pa. > > ------------------------------ > > Date: Fri, 19 Mar 1999 21:24:58 -0500 > From: nhunt@jagat.com (Newton Hunt) > Subject: Re: piano tuners are 126 > > Don't work that way, Wim. Ask any of the guys on caut@ptg.org about > recital time at a university. WHOLE different ball game. The whole > department goes ballistic and carries you right along. > > Try tuning a concert piano with the outside doors open and a cold wet > breeze coming across the piano, the stage hands doing a load in, the > ligh crew are yelling to each other about how to set the lights and > the sound guys trying to set up the sound system and you have 45 > minutes to tune somone elses piano. > > Now THAT is stress. > > Have a stressless weekend. > > Newto > > Wimblees@AOL.COM wrote: >> >> In a message dated 3/19/99 6:46:29 PM !!!First Boot!!!, >> nhunt@jagat.com >> writes: >> >> << Wim, you obviously have not worked at a university at recital >> time or >> have wroked on the concert stage. Two quite stressful places. >> >> Newton >> >> >> Any profession, no matter how "unstressful," can have a moment or >> two when a >> deadline has to be met. I see meeting a deadline, and having a >> stress free >> job, as two different things. A lot depends on how you deal with a >> deadline. >> I think of stress as it relates to the pressures associates with the >> job over >> which a person has no control. Even in a recital situation, the >> piano tuner >> has some control, in that he can always tell the performer, and even >> the >> audience, that the show won't go on until the piano is ready. Not >> that you >> want to do that, but it can happen. Just my 2 cents worth. >> >> Wim > > ------------------------------ > > Date: Fri, 19 Mar 1999 21:34:07 -0500 > From: "Bob Kleese" <bkleese@chesco.com> > Subject: Wanted To Hire: Piano Technician In Phila. Area > > This is a multi-part message in MIME format. > > - ------=_NextPart_000_0012_01BE7250.37BF8100 > Content-Type: text/plain; > charset="iso-8859-1" > Content-Transfer-Encoding: quoted-printable > > I am considering buying a Steinway Model L. I would like to hire a = > piano technician with experience in rebuilding Steinways to evaluate the = > piano(s) condition and estimated value that I am interested in. > > I require the highest ethical dedication to a noble profession. I am a = > woodby musician who has the utmost respect for the people who can = > repair, care for and make a musical instrument sound beautiful. > > - ------=_NextPart_000_0012_01BE7250.37BF8100 > Content-Type: text/html; > charset="iso-8859-1" > Content-Transfer-Encoding: quoted-printable > > <!DOCTYPE HTML PUBLIC "-//W3C//DTD W3 HTML//EN"> > <HTML> > <HEAD> > > <META content=3Dtext/html;charset=3Diso-8859-1 = > http-equiv=3DContent-Type> > <META content=3D'"MSHTML 4.72.2106.6"' name=3DGENERATOR> > </HEAD> > <BODY bgColor=3D#ffffff> > <DIV><FONT color=3D#000000 size=3D2>I am considering buying a Steinway = > Model=20 > L. I would like to hire a piano technician with experience in = > rebuilding=20 > Steinways to evaluate the piano(s) condition and estimated value that I = > am=20 > interested in.</FONT></DIV> > <DIV><FONT color=3D#000000 size=3D2></FONT> </DIV> > <DIV><FONT color=3D#000000 size=3D2>I require the highest ethical = > dedication to a=20 > noble profession. I am a woodby musician who has the utmost = > respect=20 > for the people who can repair, care for and make a musical instrument = > sound=20 > beautiful.</FONT></DIV></BODY></HTML> > > - ------=_NextPart_000_0012_01BE7250.37BF8100-- > > ------------------------------ > > Date: Fri, 19 Mar 1999 21:13:53 -0600 > From: "John M. Formsma" <jformsma@dixie-net.com> > Subject: 1960s Steinway console > > This is a multi-part message in MIME format. > > - ------=_NextPart_000_0016_01BE724D.64877600 > Content-Type: text/plain; > charset="iso-8859-1" > Content-Transfer-Encoding: 7bit > > Greetings, List. > > Today I tuned a first for me--a 1960s Steinway console. What seemed odd was > that from G5 to the top of the piano, the majority of the strings (middle > ones, at least) had false beats. That, or else there was some other noise > that was coming from somewhere. The beats ranged from about 1 per second to > around 8 per second. At first I thought it might have been that my strip > mute was not muting the outer strings properly, but I tried with the strip > mute and two rubber mutes--same beats. When I tuned the other strings, it > sounded better, but was still somewhat noticeable in that the unisons were > not as "clean" as in, say, a Yamaha of the same size. > > Since this was my first, are all Steinway consoles like this? If you have > any experience with Steinway consoles, I'd really be interested in hearing > it. > > Thanks, > > John Formsma > > > - ------=_NextPart_000_0016_01BE724D.64877600 > Content-Type: text/html; > charset="iso-8859-1" > Content-Transfer-Encoding: quoted-printable > > <!DOCTYPE HTML PUBLIC "-//W3C//DTD W3 HTML//EN"> > <HTML> > <HEAD> > > <META content=3D"text/html; charset=3Diso-8859-1" = > http-equiv=3DContent-Type> > <META content=3D'"MSHTML 4.72.3612.1700"' name=3DGENERATOR> > </HEAD> > <BODY bgColor=3D#ffffff> > <DIV><SPAN class=3D290520203-20031999><FONT color=3D#000000 face=3DArial = > > size=3D2>Greetings, List.</FONT></SPAN></DIV> > <DIV><SPAN class=3D290520203-20031999><FONT color=3D#000000 face=3DArial = > > size=3D2></FONT></SPAN> </DIV> > <DIV><SPAN class=3D290520203-20031999><FONT color=3D#000000 face=3DArial = > size=3D2>Today=20 > I tuned a first for me--a 1960s Steinway console. What seemed odd was = > that from=20 > G5 to the top of the piano, the majority of the strings (middle ones, at = > least)=20 > had false beats. That, or else there was some other noise that was = > coming from=20 > somewhere. The beats ranged from about 1 per second to around 8 per = > second. At=20 > first I thought it might have been that my strip mute was not muting the = > outer=20 > strings properly, but I tried with the strip mute and two rubber = > mutes--same=20 > beats. When I tuned the other strings, it sounded better, but was still = > somewhat=20 > noticeable in that the unisons were not as "clean" as in, say, = > a=20 > Yamaha of the same size.</FONT></SPAN></DIV> > <DIV><SPAN class=3D290520203-20031999><FONT color=3D#000000 face=3DArial = > > size=3D2></FONT></SPAN> </DIV> > <DIV><SPAN class=3D290520203-20031999><FONT color=3D#000000 face=3DArial = > size=3D2>Since=20 > this was my first, are all Steinway consoles like this? If you have any=20 > experience with Steinway consoles, I'd really be interested in hearing=20 > it.</FONT></SPAN></DIV> > <DIV> </DIV> > <DIV><SPAN class=3D290520203-20031999><FONT color=3D#000000 face=3DArial = > > size=3D2>Thanks,</FONT></SPAN></DIV> > <DIV> </DIV> > <DIV><FONT color=3D#000000 face=3DArial size=3D2>John = > Formsma</FONT></DIV> > <DIV> </DIV></BODY></HTML> > > - ------=_NextPart_000_0016_01BE724D.64877600-- > > ------------------------------ > > Date: Fri, 19 Mar 1999 22:16:26 -0600 (CST) > From: Ron Nossaman <nossaman@SOUTHWIND.NET> > Subject: Re: Sharp things (was Re: Biscuit cutter) > > At 05:47 PM 3/19/99 -0500, you wrote: >>Ron... >> >>Point 1: I momentarily confused Norm Abrams with the guy that cuts down a >>tree with a scythe, then, using his feet for a vise, turns said tree into a >>rocking chair using only a pocket knife. > > * BUZZZZZZZ! Wrong! Thank you for playing. That would be the Roy Underhill > creature, who buys Band-Aids by the case and uses his sour mash for wound > disinfectant (visible evidence to the contrary). He's good to watch when you > need to feel good about having gotten through the day with all your fingers. > Like when you have had a day so hideous that that's the only possibility of > consolation you have left. Ya know? By the way, that would be an antique > #214 Barlow pocketknife with the cheater bar and hammer striking platform on > the handle (shudder). Besides, feet are used for installing S&S lyres. > > >>Personally, I'm not interested in >>anything that doesn't have a wall socket, batteries, or fossil fuels >>nearby. > > * Uh oh, this sounds like a line voltage diesel coming on. > > >>I finally realized you are talking about the guy that either buys >>Titebond by the tanker-load, or has an endorsement agreement with Franklin. >>Apparently he hasn't heard of dry-wall screws. > > * He owns a biscuit joiner. He has no use for such pedestrian hardware. (Be > green, be VERY green (ha!)) > > >>Point 2. Why do I get the feeling that "Mr. Caster Cup" will be introducing >>a new spring line of Dixie Cup dispensers -- in contrasting hardwoods, no >>doubt. 8-} > > * Baja Mason-Dixon Distributors Inc. Live Oak and Spanish moss products for > livin' the Gentry life. Y'all come on down. Season tickets and snake bite > remedy available by prior arrangement... also snakes. > > >>Decisions decisions, >>Jim Gone to whup up some yum-yum biscuits and [either] milk or red-eye Harvey >>(aka Jim glad we have 911 service Harvey) > > * Aw heck, now I'm thirsty too. > > >>Jim Harvey, RPT > > > OK, so the List watch "topic cops" and "bandwidth watchdogs" are going to > get me if I don't have anything technical here, so I'll offer the > observation that the Chickering repair that started all this (there HAD to > be a Jim or two of some sort behind this) might also benefit from a few of > those sheetrock screws that Norm is too bisquitized to use, strategically > placed through the inner rim, and into the outer to better hold the whole > mess together. Like I said, I like mechanical fasteners. They prove someone > was there who cared. > > Best, > Ron > > ------------------------------ > > Date: Fri, 19 Mar 1999 22:16:28 -0600 (CST) > From: Ron Nossaman <nossaman@SOUTHWIND.NET> > Subject: Re: grand piano lyre > > At 06:10 PM 3/19/99 -0500, you wrote: >>> The knowledge which so many of you obviously >>> possess and are willing to share is almost unbelievable. >> >>Don't care what you think, tell us what you DID. >> Newton > > > Here here! How can we steal an idea that wasn't presented? > > Ron > > ------------------------------ > > Date: Fri, 19 Mar 1999 22:15:35 -0600 (CST) > From: skroeker@mts.net (Stan Kroeker) > Subject: Pinblock Fit > > Greetings from the rapidly thawing Canadian prairie! > > Further to the discussion on pinblock fitting, could someone comment on > Yamaha's official position on this issue? A colleague of mine has a client > whose C3 has a gap between block and flange tapering from 33 thou in the > bass to about 11 thou in the treble. The piano apparently suffers from > tuning instability despite proper humidity control (Dampp Chaser) and > frequent tuning. > > When brought to Yamaha's attention, the official factory response was that > the gap was "within tolerance". Is there such a tolerance for pinblock > fit? To me, it either contacts the flange or it doesn't. > > Regards to all, > > Stan Kroeker > Registered Piano Technician > > ------------------------------ > > Date: Fri, 19 Mar 1999 22:16:30 -0600 (CST) > From: Ron Nossaman <nossaman@SOUTHWIND.NET> > Subject: Re: piano tuners are 126 > > At 09:24 PM 3/19/99 -0500, you wrote: >>Don't work that way, Wim. Ask any of the guys on caut@ptg.org about >>recital time at a university. WHOLE different ball game. The whole >>department goes ballistic and carries you right along. >> >>Try tuning a concert piano with the outside doors open and a cold wet >>breeze coming across the piano, the stage hands doing a load in, the >>ligh crew are yelling to each other about how to set the lights and >>the sound guys trying to set up the sound system and you have 45 >>minutes to tune somone elses piano. >> >>Now THAT is stress. >> >>Have a stressless weekend. >> >> Newto > > > Newto, > You left out the fork lift and the 14,002 folding chairs in the local > Coliseum. I understand. Some things are best forgotten. It's unbelievable to > me how utterly intrusive the sound of folding chairs being THROWN into place > is to the tuning process. My tool case is already heavy enough without the > optional Pre-emptive strike bazooka, but it is certainly tempting. > > Ron > > ------------------------------ > > Date: Fri, 19 Mar 1999 20:14:10 -0800 > From: Ed Carwithen <musicman@eoni.com> > Subject: Bush & Gerts > > Worked on a Bush and Gerts, 1896 year, according to the Piano Atlas. > Beautiful cabinet, but what was inside was pretty much beyond useful life. > HOWEVER, there were several extra sets of strings. 1 Bass String below A0, > a tri-chord above the treble break, and another tri chord further up. > There were no hammers, no keys, no action of any kind for these strings, > and no room to add any. The strings had been muted off with rubber wedges. > > Why? > > > Ed Carwithen > John Day, OR > This Bush and Gerts piano must have been equipped with a transposing keyboard which allowed the instrument to be played a half step higher or lower than conventional. > ------------------------------ > > Date: Fri, 19 Mar 1999 23:27:47 -0600 > From: "James Grebe" <pianoman@inlink.com> > Subject: Re: Sharp things (was Re: Biscuit cutter) > > hey watch it > My HHCC's will get you. > - -----Original Message----- > From: Ron Nossaman <nossaman@SOUTHWIND.NET> > To: pianotech@ptg.org <pianotech@ptg.org> > Date: Friday, March 19, 1999 10:18 PM > Subject: Re: Sharp things (was Re: Biscuit cutter) > > >>At 05:47 PM 3/19/99 -0500, you wrote: >>>Ron... >>> >>>Point 1: I momentarily confused Norm Abrams with the guy that cuts down a >>>tree with a scythe, then, using his feet for a vise, turns said tree into > a >>>rocking chair using only a pocket knife. >> >>* BUZZZZZZZ! Wrong! Thank you for playing. That would be the Roy Underhill >>creature, who buys Band-Aids by the case and uses his sour mash for wound >>disinfectant (visible evidence to the contrary). He's good to watch when > you >>need to feel good about having gotten through the day with all your > fingers. >>Like when you have had a day so hideous that that's the only possibility of >>consolation you have left. Ya know? By the way, that would be an antique >>#214 Barlow pocketknife with the cheater bar and hammer striking platform > on >>the handle (shudder). Besides, feet are used for installing S&S lyres. >> >> >>>Personally, I'm not interested in >>>anything that doesn't have a wall socket, batteries, or fossil fuels >>>nearby. >> >>* Uh oh, this sounds like a line voltage diesel coming on. >> >> >>>I finally realized you are talking about the guy that either buys >>>Titebond by the tanker-load, or has an endorsement agreement with > Franklin. >>>Apparently he hasn't heard of dry-wall screws. >> >>* He owns a biscuit joiner. He has no use for such pedestrian hardware. (Be >>green, be VERY green (ha!)) >> >> >>>Point 2. Why do I get the feeling that "Mr. Caster Cup" will be > introducing >>>a new spring line of Dixie Cup dispensers -- in contrasting hardwoods, no >>>doubt. 8-} >> >>* Baja Mason-Dixon Distributors Inc. Live Oak and Spanish moss products for >>livin' the Gentry life. Y'all come on down. Season tickets and snake bite >>remedy available by prior arrangement... also snakes. >> >> >>>Decisions decisions, >>>Jim Gone to whup up some yum-yum biscuits and [either] milk or red-eye > Harvey >>>(aka Jim glad we have 911 service Harvey) >> >>* Aw heck, now I'm thirsty too. >> >> >>>Jim Harvey, RPT >> >> >>OK, so the List watch "topic cops" and "bandwidth watchdogs" are going to >>get me if I don't have anything technical here, so I'll offer the >>observation that the Chickering repair that started all this (there HAD to >>be a Jim or two of some sort behind this) might also benefit from a few of >>those sheetrock screws that Norm is too bisquitized to use, strategically >>placed through the inner rim, and into the outer to better hold the whole >>mess together. Like I said, I like mechanical fasteners. They prove someone >>was there who cared. >> >>Best, >> Ron >> > > ------------------------------ > > Date: Fri, 19 Mar 1999 23:02:50 -0700 > From: "Sy Zabrocki" <only4zab@imt.net> > Subject: Horse & Wagon > > From Sy Zabrocki--Billings, Montana > > Imagine having to deliver your pianos by horse and wagon. > > On a Montana ranch I was tuning a fine old 1913 Janssen upright. While I'm > working the man came to me with his family photo album. He shows me a couple > photos of this piano being delivered in the winter time by horse and wagon. > It's a flat bed wagon and the lettering "Janssen Piano Co." are clearly > visible on the piano crate. His grandfather ordered the piano and had it > shipped by rail to the town train depot. Then the last 17 miles was by horse > and wagon. It must have been one cold trip for the horses, the driver and > the piano. > > I then told him of the Charles Walter family who bought the last remnants of > the Janssen factory. They might be interested in this photo so why don't > make a copy and send it to them. Well he never got around to providing me > the copy. > > Even today delivering pianos is no fun. Just imagine having to hitch up the > horses every time you made a sale. > > Just once in my life I had to do some farm work with horses and I didn't > like it. Horses stink! I was still a pure innocent young man until I met > those horese. They made me so mad I learned to cuss. > > Sy Zabrocki > > ------------------------------ > > Date: Sat, 20 Mar 1999 01:28:19 -0500 > From: harvey <harvey@greenwood.net> > Subject: Re: Pinblock Fit > > Stan, I thought this question might eventually come up. Let's explore this > a little. > > Regarding pinblock to flange fit, you're right. That's one point for Stan. > > You're right on principal -- that the block either contacts the flange or > it doesn't. For us it is (or should be) a matter of pride --sometimes ego, > to see how well we can mate those surfaces. However, we're doing one > pinblock at a time. Conversely, I've noticed that some rebuilders don't pay > a lot of attention to the top surface (dress or top veneer ply to plate > webbing area as mentioned earlier by Carl Root). Yamaha do! Some rebuilders > are quite casual about drilling for tuning pin angles. Yamaha seems pretty > consistent in this area. > > Now one point for Yamaha. They are right in that (your value) is within > (their) tolerances while installing hundreds of pinblocks while you're > hand-fitting. That's likely because they are using parameters other than > yours (or mine) as to what works... not necessarily what's right. It's also > a polite way of saying, "We build over 100,000 pianos a year for the world > market (and all the baggage that a world market implies). If we were > experiencing gross instability problems, don't you think we would look into > the matter"? > > So, where do we go from here? There are some pianos where feeler gauges > give a bogus impression. Others depend on how the feeler gauge is used > (angle of approach, top/bottom or total contact). Still others don't > require feeler gauges -- one could drive a truck through the gaps, yet they > don't exhibit the characteristics associated with having gaps. On these > pianos, it is a mechanical improbability to minutely fit the block to the > flange at certain junctures -- it's just too time-consuming for the little > return in mechanical gain. Given the opportunity, look at a gutted Kawai > KG-3. Notice the pinblock, then look at the mirror image (how the block > must fit) into the plate webbing area. [Anything built by Chickering is > intentionally omitted, but these had cavities for holding the pinblock(s) > captive.] > > Even with certain pianos/models, -we- might be tempted to go the extra mile > with extra fitting, perhaps epoxy or other fillers. Manufacturers don't > typically go to these extremes when production quotas are figured on how > many crated units are waiting at the loading dock at closing time on a > given day. > > I'll cut to the chase. You mentioned finding xxx values along the area. You > didn't mention whether this was a cursory check on your part, or if you > found cause to go in pursuit with feeler gauges. Was there any indication > of the pinblock "rocking" on the plate flange? If so, the resulting tuning > instability should be immediately noticeable -- tuning the bass de-tunes > the treble, and vice-versa (or similar sectional characteristics). If the > piano tunes out nicely (short term = now), where is the problem? Therein is > the tolerance. It's either stable or not... yes or no. From a warranty > standpoint, (if that's why you called), I believe tuning instability may be > viable grounds for a warranty claim... the presence of a gap is not. > > If tuning stability is found, other avenues may be explored first. One > often overlooked item is that of removing the action, jacking up the > pinblock from the keybed, and tightening all those hard-to-access pinblock > lags. It does make a difference. > > In summary, I don't think personal ideology is going to win over > manufacturing expediency and track records on this issue. By now, there are > millions of pianos out there, with gaps, and of assorted denominations and > ethnic backgrounds, that have (and are) providing long and useful service > lives. Paradoxically, these pianos would fail the feeler gauge test in a > heartbeat. > > Jim have I got a gap for you Harvey > PS: Conrad, if you're reading this, please acknowledge my order for the UPS > brown, industrial grade flame suit. The check's in the mail. > > > At 10:15 PM 3/19/99 -0600, Stan wrote: > [intro cut] >>When brought to Yamaha's attention, the official factory response was that >>the gap was "within tolerance". Is there such a tolerance for pinblock >>fit? To me, it either contacts the flange or it doesn't. > > ------------------------------ > > End of pianotech-digest V1997 #1556 > *********************************** > -- ---------------------------------- Edward E. Swenson Pianos and Fortepianos http://www.clarityconnect.com/webpages4/piano/ 11 Congress St. P.O. Box 634 Trumansburg, NY 14886-0634 USA 607-387-6650 FAX: 607-387-3905
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