This is a multi-part message in MIME format. ---------------------- multipart/alternative attachment List: I'm presently working on a 1909 S&S K52. It was professionally = refinished. I've so far replaced the keytops, rescaled with PSCALE, and = restrung using wound strings on the first 5 notes above the bass break. = Prior to stringing I lowered the plate w/o removing it by using a saber = saw to take the thickness or height of the dowels down by one saw kerf. = As the screws rose toward the treble side I used progressively thinner = blades (some by hand for accessability). Along the bottom I used more = than one kerf as required to get the downbearing I wanted. I found I = had to remove most of the screws completely and lube with bees wax in = order to pull them down. Rust and corrosion made them just too tight to = move. This worked rather well. I cleaned the bridge by clamping a = brass brush to the blade of an electric carving knife. The brass brush = was about the size of a toothbrush. Then by sections I warmed the = bridge with a hair drier and applied Epotec 301 epoxy to all the pins. I = then rewarmed with the hair drier to help penetration of the epoxy. = Since that is slow setting stuff, I waited awhile and then removed the = excess by brushing the whole bridge with a dry paint brush, wiping the = brush often. I ended up with a nice looking bridge with a coating of = epoxy on it. Might not look good enough for a grand, but looks okay. = After overnight cure, The surface seemed a bit tacky, so I sprinkled = talc on it and brushed it in and then blew off the excess with my air = hose. That worked pretty good considering it didn't take long at all = except for the cure time. So now, I'm starting to regulate and replace the dampers. Hammers are = decent but not original. I now have several questions, since I'm not one who (only works on = Steinways), actually seldom do. In the piano action handbook it calls for .4 inches dip. I see specs = that vary for dip and I've thought that since the dip is the first = interface between the performer and the instrument it would seem that = uniform dip from piano to piano would be desirable. In most cases = regulation can compensate for different dips, so a uniform dip could be = used. I'm not a player so perhaps I don't have a feel for this. Anybody = have any strong opinions on this? How sacred is following the = manufacturing specs regarding dip? I found that repetition was poor in the high treble. I found action = centers were a bit tight especially the jack. After water and alky, = protec and the zapper, it repeats better, but key 88 has a chunk of lead = in it and the dowel capstan pushes up about14 grams. Now the weight of = the whippen is not much more than that, so if there is some lost motion = then the whippen may not even push the key down beyond the lost motion = and that will produce a key leveling problem. Question: What is the criteria for jack tightness? A gram gauge at the end of the jack should read no more that what? Question: Should I remove lead to get better repetion and have better = up weight and down weight? Or am I missing something? Last question: The dampers of S&S uprights as well as Mason and Hamlin = are very different than most uprights. The felt between the block and = the popsicle stick is much thicker than standard supply house dampers. = They have the popsicle sticks in the center section as well. What do = you do to replace those? Steinway has a set of dampers in their price = list for 121 dollars, and I don't even know what they consist of. = Anybody use them, or do you just adapt standard dampers? Comments anybody? Thanks in advance!!! Carl Meyer =20 ---------------------- multipart/alternative attachment An HTML attachment was scrubbed... URL: https://www.moypiano.com/ptg/pianotech.php/attachments/e0/b6/aa/87/attachment.htm ---------------------- multipart/alternative attachment--
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