Anybody want an ornate Weber upright ? ( Rosewood, 1890's )

[gordon stelter]

Heard about one today. If it's like the one ( seems to
be ) I had 15 years ago, it has the most gorgeous
Victorian case imagineable. ( Fretwork grilles, loads
of carving, etc. ) $500 OBO. Georgia.
     Thump


--- David Andersen <bigda@gte.net> wrote:

> Ahhh...the voice of literate wisdom rises once again
> from the Rome of the
> South...welcome back, Ed Foote....great post.
> 
> I use a similar method of aural setting of letoff,
> using the below-mentioned
> precision of touch to "push" each key through letoff
> and aftertouch to
> produce a consistent soft blow; I set the closeness
> of letoff according to
> how strong the note sounds; I can do a very precise
> letoff at either "close"
> or "safe" tolerance in every section of the piano,
> very consistently,
> without distorting or contorting my body. Find a way
> to make it fun AND
> precise. Except I have not yet found a way to make
> lifting and seating
> strings fun; it's nothing but laying bricks in the
> hot sun....and crucial to
> a well-prepared piano, and you MUST do it, so there
> ya go.
> 
> You who are coming to the PTG show in Suckramento
> (as we Laker fans say; all
> in fun; no disrespect intended; flame suit on)
> please come by the conjoined
> booths of Dale Erwin's Piano Restoration & David
> Andersen Pianos and I'lll
> show you the pprotocol in 2 minutes. As with most
> "moves" in piano work,
> it's a hundred times easier to see than describe.
> 
> My best......David A.
> 
> > << Does Bill Spurlock's description sound like
> what any of you do? "hunching
> > 
> > over the stretcher, peering past the dampers and
> through the strings to
> > 
> > judge let-off distance, then looking under the
> pinblock to place the tool on
> > 
> > the adjusting screw, then leaning forward again to
> watch as you make the
> > 
> > adjustment. All the while you must "squeeze" the
> key gradually to slow
> > 
> > hammer movement enough that you can accurately see
> the let-off point." >>
> 
> My God, that sounds like torture. How grim a
> picture. My achin' dogs and
> back....oy vay. Bill Spurlock, alias Torquemada
> Kevorkian....<g> <g>
>  
> > No,  I set let-off in the piano by holding the
> damper up with the sostenuto,
> > striking the note strongly staccato, and
> immediately bringing the hammer back
> > up and through escapement.  Using a Mason and
> Hamlin screw stringer tool, I
> > turn the let-off button down until the hammer will
> not reach the vibrating
> > string, no matter how I carefully I move it
> through let-off.  If the piano is
> > iffy, 
> > slightly lower.  
> >    In the upper sections, I do it by feel.  There
> is a moment right before
> > it begins to block that you can feel the hammer
> touch the string as the jack
> > escapes.  Slightly increasing the let-off distance
> from here will create a
> > sudden "transparent" feeling.  The jack is
> escaping before the hammer touches
> > anything.  This is usually too close for maximum
> dependability, and an
> > additional 
> > fraction of a mm isn't going to significantly
> change the pianists ability to
> > control the note.  If the let-off pads are
> unevenly worn, or crooked, this may
> > be too fine an adjustment to trust.
> >    Our sense of touch is capable of a lot.  You
> can train your playing hand
> > to judge the let-off on each key quite accurately
> when you are changing the
> > let-off from just slightly too high to just right.
>  In fact, our hands are
> > usually quite a bit more sensitive than the
> pianists. It is possible to set
> > aftertouch extremely close by how it feels,
> (though I set mine by watching
> > let-off 
> > with around a .030" washer over the front
> punching).
> > Regards, 
> > 
> > Ed Foote RPT 
> 
> _______________________________________________
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> 



		
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