Peculiar wonders of the piano craft.....

[Mike Bratcher]

How about S &S 1098's with the pressure bar size cut in half to allow your 
fingers to push down your felt mutes.

Or, Wurlitzers with enough room behind the strings to also ease in getting 
felt mutes to stay in.

Or a new capstan that can be raised or lowered with just one turn, or some 
kind of ratchet.

Or a small piano with a decent scale.

Or, here's one for the tool side, a needle voicer that can penetrate solid 
rock.

Or, a vapor proof sound board.  Or, better yet, a composite sound board. 
Better tone and stability.

Balsa wood actions (to make the whole thing lighter)

Rust proof unbreakable strings.

A new idea for stickers in spinets to allow for action removal.  This 
includes a retrofit for current spinets.

Upright plates that don't have a perimeter flange that gets in the way of 
tuning hammers with shorter heads.

Tuning pins with a torque adjustment screw.

I have about a million more, but it's late.

Mike Bratcher
----- Original Message ----- 
From: "gordon stelter" <lclgcnp@yahoo.com>
To: "Pianotech" <pianotech@ptg.org>
Sent: Monday, February 07, 2005 12:26 PM
Subject: Peculiar wonders of the piano craft.....


> Dear List,
>      It has occurred to me that it might be fun to
> share the particular construction traits that have
> impressed us on the various pianos we have worked on.
> If we make a big list, then someone mught be able to
> cull from it all they to build the "Uberklavier"
> ( And perhaps even call it that! "
>
>     I'll start:
> 1)Little tabs cast into the back of upright pedals
> that keep the pedal slot covered, and mice out, even
> when the pedal is in the "up" position.
> 2)Ash rims/cases
> 3)"Bowling Alley" laminated keybeds---VARNISHED!
> 4)Inlaid rods in Capo bars ......
>
> --- David Andersen <bigda@gte.net> wrote:
>
>> > David Andersen wrote:
>> > Here's what I know: doing single-mute, aural,
>> whole-tone, open-string tuning
>> > has exponentially expanded my ear's ability to
>> remember piano tone, and made
>> > me a better voicer; it's made me a MUCH better
>> unison tuner, much more
>> > precise.
>> >
>> > David...Glad to hear that you are still benefiting
>> from the single mute tuning
>> > style. I still swear buy it as the most honest
>> check & balanced approach to
>> > the "whole" tuning.
>> > Not that it only (seems) to yield a more true
>> temperament, and not only that
>> > it forces you to tune a better unison, but most
>> importantly, it forces you to
>> > listen on a higher plane.
>> > But I have found that I have to live in the real
>> world with huge time
>> > constraints and circumstances can't do this on
>> every piano. Now I use
>> > single-mute tuning in the same fashion I approach
>> with a bottle of fine red
>> > wine....only to be used for the  SPECIAL
>> occasions.  The level of satisfaction
>> > I get on those special instruments where I can
>> relax and enjoy the process
>> > brings joy like no other.
>> > I still have the SAT II in the case for some of
>> the grind work I have to pump
>> > out. And there have been times when I felt that
>> the SAT II tuning yielded as
>> > good of a tuning as the single-mute tuning. But
>> having the opportunity to
>> > listen to my work via recording takes I have been
>> involved with,  the
>> > single-mute tuning runs circles around my best ETD
>> tuning.
>> > Tom Servinsky
>>
>>
>> Thank you so much, Tom, for your inspiration and
>> friendship; you are a rock
>> of craft and sanity on this list. And thank you for
>> challenging me to
>> explore the single mute style; it has literally
>> changed my life and my ears,
>> as you say so eloquently above.
>>
>> I hope to see you and spend some more time with you
>> soon---Kansas City,
>> perhaps?
>>
>> David Andersen
>>
>
>
>
>
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