I'm quite happy with the Arlege bass strings in my upright, also. Now I should probably consider getting new hammers soon. I would like some that won't need an application of laquer (i.e. hammers are medium to medium-semihard, like what you get to get a tone similar to a 50s-60s Baldwin Hamilton school piano with the original hammers). samples of my piano (new strings, old hammers) at: http://pianoplayer.hey.nu/HHMA_CD/ example of tone similar to what I want with new hammers (mainly midrange and some treble. don't go by bass - I think it's probably a studio or a console or even a spinet, I don't know): http://pianoplayer.hey.nu/pianotone/moderate_playing.mp3 (btw, here's a bass sample, sampled from a recording, and resampled for different notes - original sample is C1 (it's stacatto, but I included another clip of another note which doesn't have the rich tone that I want, but should give you an idea of what kind of sustain I'd like to get if possible) http://pianoplayer.hey.nu/pianotone/bass02.mp3 (the last clip of this one is an idea of the midrange bass sound I would like.) sample 3 is basically what tone I want with hard, FF playing. First clip is recorded off an LP, last parts have some vocals in them. http://pianoplayer.hey.nu/pianotone/FF_playing_03.mp3 With FF-FFF/louder playing, I want a rich abundance of high harmonics above 5KHz, like you can hear in these samples. here's one more, file name pretty much self-explanatory: http://pianoplayer.hey.nu/pianotone/some_soft_mostly_upper_treble.mp3 Based on what I see on the website (although i had to type his address in an archiver to get it), Ari Isaac hammers seem to be the way to go... but does anyone have any other suggestions? What hammers do you find need little if any voicing, hold up over time and very heavy use without breaking strings, and have a rich spectrum of overtones? ----- Original message ----- From: "Brent Musgrave" <pianotek1963@netscape.net> To: pianotech@ptg.org Date: Sun, 20 Jul 2003 20:12:22 -0400 Subject: RE: Baldwin Bass Strings List, A good friend of mine who is a retired university technician just restrung a Baldwin-M recently. He did not have to send samples for duplication. He used Arledge bass strings and had very high praise! I did not personally hear the piano but Dean said it sounded very nice. Regards, Brent Musgrave pianotech-request@ptg.org wrote: >Send pianotech mailing list submissions to > pianotech@ptg.org > > >To subscribe or unsubscribe via the World Wide Web, visit > https://www.moypiano.com/resources/#archives >or, via email, send a message with subject or body 'help' to > pianotech-request@ptg.org > > >You can reach the person managing the list at > pianotech-owner@ptg.org > > >When replying, please edit your Subject line so it is more specific >than "Re: Contents of pianotech digest..." > >Subject: RE: Baldwin >Date: Sat, 19 Jul 2003 23:33:29 -0400 >From: "Tom Driscoll" <tomtuner@comcast.net> >To: "'Pianotech'" <pianotech@ptg.org> > > > > >-----Original Message----- > Subject: RE: Baldwin > >Can you recommend an exacting string maker? I'd sure like this piano to >sound as good as it can. It sits in the living room of the U.S. >ambassador >to Panama. > > > > >Richard, > I can recommend Sanderson in Littleton Mass. > Tom Driscoll > > >Subject: Re: list-now Humor OT >Date: Sat, 19 Jul 2003 22:49:57 -0700 >From: Robin Hufford <hufford1@airmail.net> >To: Pianotech <pianotech@ptg.org> > >Tom, > Obviously you are a veteran of the list. Very funny, original and >amusing. >Regards, Robin Hufford > >Tom Driscoll wrote: > >> Part 1.1 Type: Plain Text (text/plain) >> Encoding: 7bit > > >Subject: Re: More cut-off bar questions >Date: Sat, 19 Jul 2003 23:24:43 -0700 >From: Robin Hufford <hufford1@airmail.net> >To: Pianotech <pianotech@ptg.org> > >Hello Ron, > Nearly all of the cut-off bars I have seen on uprights have been >what >you describe - the Clayton variety. Similarly the case with grands, >although occasionally one sees a cut-off bar attached to the beams, I >think, as you describe. > Along this line I have recently looked at the cut-off bars on the >Wissner upright which I posted to on this thread six or eight weeks ago, >and Wissner does indeed use these features. There is a large section in >the upper left corner in which a diagonally placed bar, approximately >three inches wide and one and a quarter inches thick cuts off a large >area of the sound board extending about 16 inches along a diagonal line >drawn from this corner to the opposite one. The ribs are let into this >cut-off bar, and terminate in it. The bar, which is normal to the >diagonal and thus defines a fairly large area of the board in this >corner, appears to be a solid piece. On the opposite corner a smaller >section is cut-off not by a bar but by a gusset shaped piece that >appears >to be about one and a half inches thick, extending from the vertex along >the bottom of the board for about eight inches and up the side of the >board for approximately 25 or so, and then connected from the two ends. > The sound of this piano, while not of the timbre per se that my ear >favors best, must be heard to be >comprehended both as regards power, ringtime and attributes which one >might consider as "grand like". And this in its present, unrebuilt >condition. > Another interesting feature of the piano is the plate which >contains >a flange fitted pinblock that is blocked up off the back. Spacers >occupy >a space analagous to the action cavity on a grand but only and inch or >so deep, >and carry the screws into the back from the front of the block. Another >is a Capo >d'Astro that extends across the entire length of the piano. > I intend to take some pictures of a Sohmer grand with the agraffed >bridge later this month as per your request of some time ago and get >them >to you. > In my opinion there is no better termination system devised than >this system for pianos, which I believe also has been used by several >European >manufacturers in the past. Others will no doubt disagree but, to me, >this is immediately made apparent by the far superior ringtime and power >of these kinds of systems. The conventional pinned bridge is, as far >as >I can see, a masterpiece of compromise whose fundamental aim is >cost-efficiency first and foremost, termination efficiency second, and, >perhaps, tradition third. And it is a very poor second at that as >regards >the termination function. > Steinway's traditional term for this bar, in the past, has been >"Closing rim" and this often cut-off a space where the board was >entirely absent and was used on numerous pianos. >Regards, Robin Hufford > >Overs Pianos wrote: > >> >What is a Clayton's cut-off? >> > >> > Calin Tantareanu >> >> Around thirty years ago, when I was finishing school, Claytons Tonic >> was the non-alcoholic drink folks would take if they weren't into the >> real stuff. >> >> Similarly, the 'Claytons cut-off' is the one which isn't attached to >> the back beams. Should one be completely overcome by the urge to use >> an unattached cut-off, you might as well save the wood unless the >> sales folks are short of speel. >> >> I don't know if the tonic is still made, but there's certainly no >> shortage of Claytons cut-offs to be had. >> >> Ron O. >> -- >> >> OVERS PIANOS - SYDNEY >> Grand Piano Manufacturers >> _______________________ >> >> Web http://overspianos.com.au >> mailto:ron@overspianos.com.au >> _______________________ >> _______________________________________________ >> pianotech list info: https://www.moypiano.com/resources/#archives > >Subject: RE: Baldwin >Date: Sat, 19 Jul 2003 23:49:58 -0500 >From: Ron Nossaman <RNossaman@cox.net> >To: Pianotech <pianotech@ptg.org> > > >>Can you recommend an exacting string maker? I'd sure like this piano to >>sound as good as it can. It sits in the living room of the U.S. ambassador >>to Panama. > >Mapes is quite capable of making a good set of strings, as is Arledge or >Sanderson. The question is making them to what specifications? That's the >rescaling Terry was talking about. > >And, incidentally, why is it more important that the piano sound good for >the U.S ambassador to Panama than if it was for the widow Iris Flowers from >Grand Junction, who would be spending the same money for similar >expectations? I've always wondered about this sort of distinction. > >Ron N > > >Subject: Conversions >Date: Sat, 19 Jul 2003 23:43:27 -0700 >From: "Joseph Garrett" <joegarrett@earthlink.net> >To: <pianotech@ptg.org> > >Ron said: "Wow! Break out your bookmarker and chisel this one near the top >of the list."!!! >Damned thing almost gave my 'puter a hernia!<G> Must be those metric freaks >again!<G> >Thanks Ron. Don't know what to do with it, but, thanks anyway!<G> >Best Regards, >Joe Garrett, RPT, (Oregon) > >Been There, Didn't Like It, So I'm Here To Stay! [G} > > >Subject: Re: Baldwin/Richard Stang >Date: Sat, 19 Jul 2003 23:47:57 -0700 >From: "Joseph Garrett" <joegarrett@earthlink.net> >To: <pianotech@ptg.org> > >"I don't >know whether I should have Mapes or Schaff make the strings. I think Schaff >is cheaper, but maybe not so much so. What do you all think?" >Hmmm? Last I heard Mapes and Schaff are one and the same. If you want good >strings, get them from someone else, like Walter Schenke, Canada, J.D. >Grandt Piano Supply Co.!!!! >Just my slant on it.<G> >Best Regards, >Joe Garrett, RPT, (Oregon) > >Been There, Didn't Like It, So I'm Here To Stay! [G} > > >Subject: RE: looking to replace my upright... >Date: Sat, 19 Jul 2003 23:50:38 -0800 >From: "Stephen Airy" <stephenairy@fastmail.fm> >To: "Piano Tech list - PTG" <pianotech@ptg.org> > >I did a little bit of thinking the last couple days on this subject. I'm >thinking that maybe I should use my current upright to learn how to hang >hammers and regulate an action (and maybe also replace whippens, hammer >butts, or a few other things, but I haven't decided yet). So... I'm >temporarily taking myself off the market for a piano, at least for the >time being. However, I am thinking about waiting a while, and saving up >some money. > >I suppose I could plod along with my current piano, but when I am ready >to upgrade, does anyone have any suggestions on what to get? I'm >thinking I would be open to either an upright or a grand, although if I >got a grand it would have to wait a while before I get one, as I am >living with my parents at this time and they don't have room for another >grand. Also, what would be a good price range to look at? I don't need >any fancy "furniture", but I do want a good responsive action, that >allows for fairly fast playing, and good dynamic control, and a good, >full, rich, brilliant tone, abundant in higher harmonics, all the way >from A0 to C8, especially on FF passages, but not harsh. If I go for a >grand, I'm thinking at least 6 to 7 foot, but I don't want to spend a lot >of dinero on a piano, so for me, a new piano from a dealer is out of the >question, unless I wait a really long time and have >$50,000 to spend on >a piano. What do you think I should be able to get for, say, $2,500? >$5,000? $10,000? $20,000? any other price tiers you might suggest >looking at? Like I said above, I've been thinking that I should probably >learn some more technical things on my current piano, then after a couple >years or so, start looking at getting another one. Ultimately, I'd like >to get a Bosendorfer Imperial, but I would have to save for a >LLLLOOOOONNNNNGGGGG tttiiimmmeee... and I wouldn't want to stick with my >current piano for all that time. I would want to have at least one or >two steps between an old klunker upright and a halfway decent 8-octave >9'6" grand. :) Depending on available space and the price, I would be >willing to get an older rebuilt 9 foot piano, even if it was not a >Steinway. I played a Knabe 9' grand recently that someone had advertised >for $8,000, but I don't have the money for that right now, but if I did >have the money and the space, I'd consider buying it. Unfortunately, >it's a limited time deal (private seller though) so when I AM able to buy >something that size for that price, it probably won't be available. :( >-- > Stephen Airy > stephenairy@fastmail.fm > >Subject: Re: Flange Center Friction Increase >Date: Sun, 20 Jul 2003 19:50:26 +1000 >From: "Scott Jackson" <ScottWayneJackson@hotmail.com> >To: "Pianotech" <pianotech@ptg.org> > >No matter how 'gently' i try, i have never been able to put a cut centre pin back in a bushing without knocking out the cloth! I would not recommend trying this to anyone (unless they really want practise at re-bushing flanges!). > >Scott Jackson >Australia > >----- Original Message ----- >From: "Paul Chick (Earthlink)" <tune4@earthlink.net> >To: "Pianotech" <pianotech@ptg.org> >Sent: Saturday, July 19, 2003 10:07 AM >Subject: RE: Flange Center Friction Increase > > > >| Terry >| Isaac Sadisgursky talked about this in his class on center pins at the >| Convention. He demonstrated how a center pin can be too tight in the >| bushing cloth and loose through the wood, just the opposite of what it >| should be. This problem can be spotted as you describe--fewer swings as you >| go along. Here's his test: carefully remove the center pin from an >| offending flange. Gently place it back in the bushed flange and check the >| friction just by pushing the pin with your fingernail. Now place the same >| pin in the wood and push it with your fingernail. Chances are you can push >| it right through the wood. The problem is caused by using the assembly wire >| used in the flange to size the bushing cloth during manufacturing. When the >| flange is installed, the worker slides the wire back to clear the other >| member then slides it through and cuts it to length, fitting done. Isaac >| says to watch for centers that are clipped on both sides of the flange. >| This will tell you a wire had been used. He then went on to demonstrate how >| to repin a set of flanges in about 45 minutes. >| Paul C > >Subject: Re: looking to replace my upright... >Date: Sun, 20 Jul 2003 19:36:32 +1000 >From: "Scott Jackson" <ScottWayneJackson@hotmail.com> >To: "Pianotech" <pianotech@ptg.org> > >Yes! Please sell one to Stephen ............. > > > >----- Original Message ----- >From: "gordon stelter" <lclgcnp@yahoo.com> >To: "Pianotech" <pianotech@ptg.org> >Sent: Sunday, July 20, 2003 2:03 AM >Subject: RE: looking to replace my upright... > >| I still have couple of big, partially restored Knabes >| from the 1890's I'd sell "reasonable". I really don't >| think you can get a bigger sound in an upright than >| from these! >| Thump > >Subject: Re: looking to replace my upright... >Date: Sun, 20 Jul 2003 08:15:33 -0400 >From: "Farrell" <mfarrel2@tampabay.rr.com> >To: "Pianotech" <pianotech@ptg.org> > >".....living with my parents at this time and they don't have room for another grand." > >So, there is a grand piano in your home? > >And does it have "a good responsive action, that allows for fairly fast playing, and good dynamic control, and a good, full, rich, brilliant tone, abundant in higher harmonics, all the way from A0 to C8, especially on FF passages, but not harsh"? > >If so, why not play that piano - even if it is not a "9 foot piano", and "even if it was not a Steinway"? > >Terry Farrell > >----- Original Message ----- >From: "Stephen Airy" <stephenairy@fastmail.fm> >To: "Piano Tech list - PTG" <pianotech@ptg.org> >Sent: Sunday, July 20, 2003 3:50 AM >Subject: RE: looking to replace my upright... > > > >> I did a little bit of thinking the last couple days on this subject. I'm >> thinking that maybe I should use my current upright to learn how to hang >> hammers and regulate an action (and maybe also replace whippens, hammer >> butts, or a few other things, but I haven't decided yet). So... I'm >> temporarily taking myself off the market for a piano, at least for the >> time being. However, I am thinking about waiting a while, and saving up >> some money. >> >> I suppose I could plod along with my current piano, but when I am ready >> to upgrade, does anyone have any suggestions on what to get? I'm >> thinking I would be open to either an upright or a grand, although if I >> got a grand it would have to wait a while before I get one, as I am >> living with my parents at this time and they don't have room for another >> grand. Also, what would be a good price range to look at? I don't need >> any fancy "furniture", but I do want a good responsive action, that >> allows for fairly fast playing, and good dynamic control, and a good, >> full, rich, brilliant tone, abundant in higher harmonics, all the way >> from A0 to C8, especially on FF passages, but not harsh. If I go for a >> grand, I'm thinking at least 6 to 7 foot, but I don't want to spend a lot >> of dinero on a piano, so for me, a new piano from a dealer is out of the >> question, unless I wait a really long time and have >$50,000 to spend on >> a piano. What do you think I should be able to get for, say, $2,500? >> $5,000? $10,000? $20,000? any other price tiers you might suggest >> looking at? Like I said above, I've been thinking that I should probably >> learn some more technical things on my current piano, then after a couple >> years or so, start looking at getting another one. Ultimately, I'd like >> to get a Bosendorfer Imperial, but I would have to save for a >> LLLLOOOOONNNNNGGGGG tttiiimmmeee... and I wouldn't want to stick with my >> current piano for all that time. I would want to have at least one or >> two steps between an old klunker upright and a halfway decent 8-octave >> 9'6" grand. :) Depending on available space and the price, I would be >> willing to get an older rebuilt 9 foot piano, even if it was not a >> Steinway. I played a Knabe 9' grand recently that someone had advertised >> for $8,000, but I don't have the money for that right now, but if I did >> have the money and the space, I'd consider buying it. Unfortunately, >> it's a limited time deal (private seller though) so when I AM able to buy >> something that size for that price, it probably won't be available. :( >> -- >> Stephen Airy >> stephenairy@fastmail.fm >> _______________________________________________ >> pianotech list info: https://www.moypiano.com/resources/#archives > >Subject: Re: Disklavier Question >Date: Sun, 20 Jul 2003 09:34:39 -0400 >From: "Dave Smith" <dsmith941@comcast.net> >To: "Pianotech" <pianotech@ptg.org> > >Good work Terry. Looking back, I can see that Kevin's advice was the >simplest and the best. I looked at my notes and found that the symptom of >the silent rail being turned as I had suggested is NOT a piano what won't >play. It is an action that won't go back in the piano. I guess you can >call that a piano what won't play also. :) > >Now that you can work on Disklavier's (as well as build your own >soundboards) you are probably ready for the hard questions. Like, 'what is >the meaning of life?" > >Dave Smith >SW FL >----- Original Message ----- >From: "Farrell" <mfarrel2@tampabay.rr.com> >To: "Pianotech" <pianotech@ptg.org> >Sent: Saturday, July 19, 2003 8:51 PM >Subject: Re: Disklavier Question > > > >> Thanks for all the input. The Quiet-Time feature was an add-on unit. It >was turned on. I pressed the on/off button, and thus turned off the >Quiet-Time unit, and became a hero. Thanks all. It was rough, but I was >tough! ;-) Sorry it wasn't something more complicated!!!!! >> >> Terry Farrell >> >> ----- Original Message ----- >> From: "Kevin E. Ramsey" <kevin.e.ramsey@cox.net> >> To: "Pianotech" <pianotech@ptg.org> >> Sent: Thursday, July 17, 2003 10:05 PM >> Subject: Re: Disklavier Question >> >> >> Hi Terry, >> The first thing that comes to mind is that she probably has the mute >rail engaged. There is a box on the left side of the keybed. It has an >on-off switch, and two knobs, volume and reverb. If she has the silent rail >engaged and the volume pot all the way down, you won't hear anything. >> That's probably whats happening here. There are volume controls for >the speakers on the power supply in between the beams under the piano, which >have to be turned up somewhat for the speakers to work. But as far as >getting the piano to play, if it doesn't, it must be the silent rail is >engaged with the volume off. >> Go out there, take your cell phone. If you run into trouble you can call >Yamaha at (800) 854-1569,, then 2,,then 2 to get right in to the support. >They'll trouble shoot it with you on the line. I wouldn't lose too much >sleep about it, it's probably something that will take you about 5 minutes >to figure out. Let us know what you found, OK? >> Kevin. >> ----- Original Message ----- >> From: Farrell >> To: pianotech@ptg.org >> Sent: Thursday, July 17, 2003 6:55 PM >> Subject: Disklavier Question >> >> >> I am stopping by a client's home tomorrow to look at her Yammy grand >with a Disklavier. I told her I only know a VERY little about them, but she >wants me to at least look at it (heck, maybe I'll find a cord not plugged >in!). She says the piano has been set up for two years, but only recently >she tried using it. She says the keys go up and down when she turns a disk >on, but the piano makes no noise (no music). She thinks it has the Quiet >Time feature (which I know almost nothing about). >> >> Anyone care to throw out a few things to look at? Thanks for any crumbs. >> >> Again, I know almost nothing about these things (give me an hour and a >bottle of rum and I MIGHT be able to figure out how to turn it on!). >> >> Terry Farrell >> >> _______________________________________________ >> pianotech list info: https://www.moypiano.com/resources/#archives >> _______________________________________________ >> pianotech list info: https://www.moypiano.com/resources/#archives > > >Subject: Re: looking to replace my upright... >Date: Sun, 20 Jul 2003 10:04:44 -0400 >From: J Patrick Draine <draine@comcast.net> >To: Pianotech <pianotech@ptg.org> > > >On Sunday, July 20, 2003, at 03:50 AM, Stephen Airy wrote: > >> I did a little bit of thinking the last couple days on this subject. >> I'm >> thinking that maybe I should use my current upright to learn how to >> hang >> hammers and regulate an action (and maybe also replace whippens, >> hammer >> butts, or a few other things, but I haven't decided yet). > >Yep, stop thinking so much! Get yourself a good set of hammers, butts, >and shanks, and get to work. Perhaps you should buy or borrow a hammer >hanging jig, and certainly read relevant articles on the procedure >(such as the one in Don Valley's series of articles "Behold the >Upright!"). > >Patrick > > >Subject: Re: Flange Center Friction Increase >Date: Sun, 20 Jul 2003 10:49:04 -0600 >From: Chris Gregg <cdgregg@telus.net> >To: Pianotech <pianotech@ptg.org> > >I have a Samick grand action on my bench right now. The problem I thought >was sticking jacks, but on further investigation, the problem was the >flange on the top of the repetition post. The repetition was not returning >and therefore the jack was sticking on the knuckle. I punched out the pin >and noticed a residue on it, so then I punched out the bushing cloth to see >what the problem really was. The cloth was hard. Too much glue on it, >making the graphite stick to the pin. I re-bushed and re-pinned the >offender, however, I do not see doing this to all the bad ones. I have >re-pinned thousands of Young Chang action centres over the years. I was >led to believe that there was a sizing problem with the action centre cloth >at one time. Rep[inning I can handle, re-bushing is a pain in the you know >what. > >Chris Gregg RPT > > At 07:50 PM 7/20/2003 +1000, you wrote: >>No matter how 'gently' i try, i have never been able to put a cut centre >>pin back in a bushing without knocking out the cloth! I would not >>recommend trying this to anyone (unless they really want practise at >>re-bushing flanges!). >> >>Scott Jackson >>Australia >> >>----- Original Message ----- >>From: "Paul Chick (Earthlink)" <tune4@earthlink.net> >>To: "Pianotech" <pianotech@ptg.org> >>Sent: Saturday, July 19, 2003 10:07 AM >>Subject: RE: Flange Center Friction Increase >> >> >>| Terry >>| Isaac Sadisgursky talked about this in his class on center pins at the >>| Convention. He demonstrated how a center pin can be too tight in the >>| bushing cloth and loose through the wood, just the opposite of what it >>| should be. This problem can be spotted as you describe--fewer swings as you >>| go along. Here's his test: carefully remove the center pin from an >>| offending flange. Gently place it back in the bushed flange and check the >>| friction just by pushing the pin with your fingernail. Now place the same >>| pin in the wood and push it with your fingernail. Chances are you can push >>| it right through the wood. The problem is caused by using the assembly wire >>| used in the flange to size the bushing cloth during manufacturing. When the >>| flange is installed, the worker slides the wire back to clear the other >>| member then slides it through and cuts it to length, fitting done. Isaac >>| says to watch for centers that are clipped on both sides of the flange. >>| This will tell you a wire had been used. He then went on to demonstrate how >>| to repin a set of flanges in about 45 minutes. >>| Paul C >>_______________________________________________ >>pianotech list info: https://www.moypiano.com/resources/#archives > > http://www.tuneit.ca > > > > >Subject: Re: Flange Center Friction Increase >Date: Sun, 20 Jul 2003 10:55:06 -0500 >From: "James Grebe" <pianoman@accessus.net> >To: "Pianotech" <pianotech@ptg.org> > >I wonder since Y-C makes the Essex if this is going to be a problem with >them also? >James Grebe >Piano Tuner-Technician >Wood Artisan >Established 1962 >Creator of Wooden Artifacts such as: >Handsome Hardwood Caster Cups >Handsome Hardwood Piano Benches >314 845-8282 >1526 Raspberry Lane >Arnold, MO 63010 > >----- Original Message ----- >From: "Chris Gregg" <cdgregg@telus.net> >To: "Pianotech" <pianotech@ptg.org> >Sent: Sunday, July 20, 2003 11:49 AM >Subject: Re: Flange Center Friction Increase > > > >> I have a Samick grand action on my bench right now. The problem I thought >> was sticking jacks, but on further investigation, the problem was the >> flange on the top of the repetition post. The repetition was not returning >> and therefore the jack was sticking on the knuckle. I punched out the pin >> and noticed a residue on it, so then I punched out the bushing cloth to >see >> what the problem really was. The cloth was hard. Too much glue on it, >> making the graphite stick to the pin. I re-bushed and re-pinned the >> offender, however, I do not see doing this to all the bad ones. I have >> re-pinned thousands of Young Chang action centres over the years. I was >> led to believe that there was a sizing problem with the action centre >cloth >> at one time. Rep[inning I can handle, re-bushing is a pain in the you >know >> what. >> >> Chris Gregg RPT >> >> At 07:50 PM 7/20/2003 +1000, you wrote: >> >No matter how 'gently' i try, i have never been able to put a cut centre >> >pin back in a bushing without knocking out the cloth! I would not >> >recommend trying this to anyone (unless they really want practise at >> >re-bushing flanges!). >> > >> >Scott Jackson >> >Australia >> > >> >----- Original Message ----- >> >From: "Paul Chick (Earthlink)" <tune4@earthlink.net> >> >To: "Pianotech" <pianotech@ptg.org> >> >Sent: Saturday, July 19, 2003 10:07 AM >> >Subject: RE: Flange Center Friction Increase >> > >> > >> >| Terry >> >| Isaac Sadisgursky talked about this in his class on center pins at the >> >| Convention. He demonstrated how a center pin can be too tight in the >> >| bushing cloth and loose through the wood, just the opposite of what it >> >| should be. This problem can be spotted as you describe--fewer swings >as you >> >| go along. Here's his test: carefully remove the center pin from an >> >| offending flange. Gently place it back in the bushed flange and check >the >> >| friction just by pushing the pin with your fingernail. Now place the >same >> >| pin in the wood and push it with your fingernail. Chances are you can >push >> >| it right through the wood. The problem is caused by using the assembly >wire >> >| used in the flange to size the bushing cloth during manufacturing. >When the >> >| flange is installed, the worker slides the wire back to clear the other >> >| member then slides it through and cuts it to length, fitting done. >Isaac >> >| says to watch for centers that are clipped on both sides of the flange. >> >| This will tell you a wire had been used. He then went on to >demonstrate how >> >| to repin a set of flanges in about 45 minutes. >> >| Paul C >> >_______________________________________________ >> >pianotech list info: https://www.moypiano.com/resources/#archives >> >> http://www.tuneit.ca >> >> >> _______________________________________________ >> pianotech list info: https://www.moypiano.com/resources/#archives > > >Subject: Re: soundboardinstal >Date: Sun, 20 Jul 2003 19:16:24 +0300 >From: "Calin Tantareanu" <dnu@fx.ro> >To: "Pianotech" <pianotech@ptg.org> > > >> Assuming that you know what you want (including the number and placement >of >> ribs, bridges, and cutoff bar), why you want it, and how to calculate it, > >How would one calculate a soundboard & ribs? >I have always wondered about this. > > > > Calin Tantareanu >---------------------------------------------------- > http://calintantareanu.tripod.com >---------------------------------------------------- > > > > >Subject: Re: soundboardinstal >Date: Sun, 20 Jul 2003 12:17:20 -0500 >From: Ron Nossaman <RNossaman@cox.net> >To: Pianotech <pianotech@ptg.org> > > >>How would one calculate a soundboard & ribs? >>I have always wondered about this. >> >> Calin Tantareanu > >I don't know what anyone else does, but I do a load analysis of the rib set >from the new string scale. Downbearing loads on each rib are used to >calculate deflection, and the ribs are sized to give me the deflection >ranges I want through each section of the scale. > >Ron N > > __________________________________________________________________ McAfee VirusScan Online from the Netscape Network. Comprehensive protection for your entire computer. Get your free trial today! http://channels.netscape.com/ns/computing/mcafee/index.jsp?promo=393397 Get AOL Instant Messenger 5.1 free of charge. Download Now! http://aim.aol.com/aimnew/Aim/register.adp?promo=380455 _______________________________________________ pianotech list info: https://www.moypiano.com/resources/#archives -- Stephen Airy stephenairy@fastmail.fm
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