---------------------- multipart/mixed attachment >Yes, tying the old one back in would probably be the best choice of all. I certainly think so, which is why I try to splice first, regardless of the name on the fallboard. If the strings are new enough and bright enough, I'll offer to order them a replacement, again, regardless of the name on the fallboard. >There are plenty of old uprights that have dead bass strings, with >students as their primary players, and households that have no money for a >better piano or new bass strings, who have thrown the old string away, >that might benefit from this technique. Which tender esthetic sensibility are you trying to please here? Sacred authenticity, original scaling, looks, or sound? We are continuously reminded that the ear is the final arbiter, independent of the methods employed to achieve or approximate the sound as evaluated on that particular day. So if the bass is dead and tubby, regardless of the name on the fallboard, anything you can do to make the replacement string sound as dead and tubby as the surrounding notes should meet the criteria and satisfy the ear. This is a position in which nothing you can do is right. You are dealing with the reality of a specific instrument (and it's owner), not the potential (of either), so you choose, or let the customer choose, the priority and go with it - regardless of the name on the fallboard. It's recoverable any time the customer decides the piano is worth the major rebuild it likely needs and is willing to pay for it. Then you can go for the instrument's potential, or sacred authenticity, or looks, or whatever - again, at the customer's discretion. Ron N ---------------------- multipart/mixed attachment --- Outgoing mail is certified Virus Free. Checked by AVG anti-virus system (http://www.grisoft.com). Version: 6.0.525 / Virus Database: 322 - Release Date: 10/9/2003 ---------------------- multipart/mixed attachment--
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