Bass String Splice

[Farrell]

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Bill said in resonse to my post:

"Take a look at the hammers, are there deep grooves?   If so, tell the =
customer that the reason for the breakage is metal fatigue that can be =
mitigated be filing the hammers.  I have a few situations in my =
clientele where this has come up recently.=20

By asking about it on this List, there was an important point I =
remember, made by Newton Hunt.  That is, metal fatigue is *not* =
reversible.  So, once this process has begun, actions you may take such =
as filing the hammers will not cure the problem, the best they can do is =
cut down on the major factor which is causing the strings to break."

How would hammer filing reduce the abuse to bass strings?

Terry Farrell



 =20
  ----- Original Message -----=20
  From: Billbrpt@AOL.COM=20
  To: pianotech@ptg.org=20
  Sent: Sunday, December 23, 2001 11:20 AM
  Subject: Re: Bass String Splice


  In a message dated 12/23/01 8:12:47 AM Central Standard Time, =
mfarrel2@tampabay.rr.com (Farrell) writes:=20



    When a bass string breaks just above the winding end on a =
low-end/older=20
    piano (like within a half-inch or so), what do you do regarding the =
splice=20
    decision? New string? Unwrap some of the winding and splice? =
Clearly, better=20
    piano, more demanding client, gets new string. But what about the =
"just fix=20
    it for as little as possible" situation?=20


  This situation often means that the player plays very heavily, =
regardless of the kind of music.  A glance around may tell you what kind =
of music is played, if not, ask.  If it's classical, you'll see many =
books of advanced literature, mostly Romantic.  If the player plays Rock =
& Roll, Boogie Woogy, Jazz or Gospel, the damper pedal may also need =
maintenance.  These kind of players often use it as their "Bass Drum".  =
In a particular style of Jazz that comes from New Orleans, this is the =
norm.=20

  Once you have one string gone, there may easily be more.  One may =
break within a short period of time after you have made a repair or =
replacement.  You may easily be blamed for it and the customer will =
probably think it is the one you already repaired or replaced.  Indeed, =
the one *next* to the one that broke may be the next one to break =
because until the unison was restored, the single remaining string took =
all of the force.=20

  Take a look at the hammers, are there deep grooves?   If so, tell the =
customer that the reason for the breakage is metal fatigue that can be =
mitigated be filing the hammers.  I have a few situations in my =
clientele where this has come up recently.=20

  By asking about it on this List, there was an important point I =
remember, made by Newton Hunt.  That is, metal fatigue is *not* =
reversible.  So, once this process has begun, actions you may take such =
as filing the hammers will not cure the problem, the best they can do is =
cut down on the major factor which is causing the strings to break.=20

  As for the splicing, yes, you are correct in peeling off a bit of the =
winding to give you the space you need to make the splice.  There is a =
serendipitous side effect to doing this, however:  Peeling off some of =
the winding (let's say, 3/16") increases the inharmonicity of the =
string.  Tying a knot in the speaking length decreases it.  If you are =
lucky, the two will cancel each other out.  Otherwise, your spliced =
string will create an irresolvable tuning problem known as a "snarl".  =
The mismatched inharmonicity of the two strings makes tuning them as a =
unison practically impossible.  The worst problem also with so-called =
"Universal" String replacements is that the *Inharmonicity* will not =
match.=20

  Sometimes, you can just let the spliced string be there as a permanent =
repair.  If you do the splice well, you will take pride in your =
craftsmanship each time you see it there and witness that the unison is =
functioning normally.  If the piano is modern and under production, =
particularly if under warranty, you should order a new string and leave =
the splice as a temporary repair.=20

  By the way, I don't bother with Universal Strings for the reasons you =
cite.  I would admit that any in many cases, you could get a Universal =
String to work, but I don't consider that to always have a complete set =
available is worth the trouble.  I either splice or order a new =
replacement.=20

  If I want to order a replacement for a string I am replacing and the =
dimensions are not known, I measure the adjacent string carefully and =
supply the figures to the string winder.  In most cases, you'll have to =
insert an offset figure into measurements of an adjacent string:  the =
Hitchpin to start of winding will be different but the core diameter, =
outside diameter, and winding length will be identical.  Make =
measurements carefully!=20

  For these individual replacement strings, I always use Schaff piano =
supply because the company is nearby and because their product is always =
well made.  If I need a replacement made by measured dimensions, I just =
call them from my cellphone and ask for the String Winding Department.  =
If the piano scale design is well known and they have it on file, I can =
get a replacement within a day or two that ranges from satisfactory to =
perfect.  I can't recall a single time in more than 25 years that I was =
ever disappointed with a replacement string from them unless it was *my* =
error in ordering.=20

  Lastly, don't expect a spliced or replaced string to stay in tune.  =
Tune a spliced string 10 cents (a gentle beat aurally) sharp and explain =
that it will go flat of it's own accord.  It may settle to a point where =
it does not disturb the customer.  Either make an appointment to retune =
it in 2 weeks or tell the customer to call you after two weeks if it is =
still not satisfactory.=20

  For a replaced wound string, make sure you do all of the things that =
will release the unsettled points which will cause the string to go =
flat.  Pull it up to pitch and beyond by 25 cents (a rapid, sour =
sounding beat, aurally), tap the coil, squeeze the beckett, (close the =
gap), tap down the loop at the other end and at the bridge points =
(lightly, don't use heavy force that may damage the bridge), apply a few =
stretching techniques such as pressing on the string, making sure not =
damage or mar it, then tune the string up to +25 cents (or a rapid beat =
aurally).=20

  You can leave a mute to temporarily silence the sharpened string.  =
This is a particularly good idea if you will return in a short period of =
time.  Sometimes, you may have a customer who is aware enough to remove =
the mute after a short period of time and can call you if retuning the =
unison is necessary.  In a few cases, you'll have a customer who has a =
tuning hammer and a mute and can maintain that unison but is not capable =
of tuning the whole piano.  I encourage the customer, in that =
circumstance, to do whatever is possible.  (You know you'll be back when =
there is some work that is worthwhile).=20

  Regards,=20

  Bill Bremmer RPT=20
  Madison, Wisconsin=20
  Click here: -=3Dw w w . b i l l b r e m m e r . c o m =3D-=20

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