The easy way is to take mono fishing line ( 20 lb test or higher).
If it's a Steinway, I tie it to one of the plate nose bolts and run it along the top of the plate struts to the other nose bolts, then run it to the next. You'll end up with a zig zag configuration that will keep the felt over of the strings.
It's cheap, fast, and affective.
Tom Servinsky
----- Original Message -----
From: Randy Chastain
To: pmc033 at earthlink.net ; pianotech at ptg.org
Sent: Friday, September 18, 2009 1:04 AM
Subject: Re: [pianotech] Climate Systems, String Covers,and Effects on Tuning Stability & Tone
Cotton absorbs moisture, wool repels and breathes. You don't want cotton. Wool or wool blend is best. Maybe some of you are old enough to remember luggage made of wool. Wool wears well but also repelled moisture and allowed the clothing inside the suitcase to breathe and not get musty or moldy. Just think of the little lambs (with lanolin in the wool) out in the fields......wet or dry sheep?
As far as muffling the sound goes, when I make string covers for my clients I don't like any portion of the strings to be touched by the cloth. I have purchased string covers and was not always satisfied. Usually at the base bridge strings is where the cloth can touch so I attach a heavy, thick coated wire to the last support rod that keeps the cloth off of the strings. You can bend the wire and make "legs" and cross struts that will stand up on the tail part of the harp and nothing touches the strings. Good luck.
Randy Chastain
On Sep 17, 2009, at 4:47 AM, Paul McCloud wrote:
Hi, Paul:
I’m sure you’ll get a lot of replies on this one. I would first like to point out that the material for the cover should be at least 50% or more wool content. The reason is that wool absorbs moisture. If it is synthetic, it will trap moisture underneath and cause more rust than if it weren’t there at all. Edwards covers, as well as Dawson’s covers (see ad in the Journal) have 100% wool. They also have battens sewn into them to prevent the cover from touching the strings, so the volume is only slightly reduced while they are in place. If you would like to save money and do it yourself, you could rig up some string, monofilament, or whatever to span the gap between the struts to prevent the cover from touching the strings. One tech here in San Diego uses button magnets (Radio Shack) and places them in various places to hold the material taut on the struts. You’ll be a hero in no time for this little extra effort.
As far as stability, of course the climate control is going to be a huge improvement. I don’t work in a school environment, so I’ll let others who do give their input. My experience in general is that any air movement over the strings, especially in grands, affects the tuning. Even slight temperature changes will affect the pitch, so insulating the string area is a good idea. HVAC in large buildings is really hard on the tuning because of all the air movement and moisture-laden cold air that’s blown around. We had a recent discussion about the effects of cold air and moisture on this list in the past couple of weeks. You might want to check the archives if you haven’t monitored the discussion on this.
You’re on the right track. Good luck.
Paul McCloud
San Diego
From: pianotech-bounces at ptg.org [mailto:pianotech-bounces at ptg.org] On Behalf Of Paul Milesi
Sent: Thursday, September 17, 2009 12:06 AM
To: PTG Pianotech List
Subject: [pianotech] Climate Systems, String Covers, and Effects on Tuning Stability & Tone
Greetings. I am the new staff technician for the Howard University Department of Music in Washington, DC.
I am working hard to overcome or at least slow the deleterious effects of an HVAC system that is pumping air of all extremes into recital halls, classrooms, practice rooms, and teaching studios -- all in combination with windows that open and close. Since the building opened in 1961, significant damage (mostly pinblock and soundboard damage from excessive dryness, but also string rust/corrosion from our humid summers here in DC) has been done to what used to be some very beautiful pianos, including several Baldwin Ls and Rs and 4 or 5 Steinways.
For starters, I have obtained funds for 10 Life Saver systems, to be distributed among the recital hall, piano teaching studios, and practice rooms. I have installed a couple already, and thought it would also be a good idea to combine the systems with string covers to maximize tuning stability. I purchased several yards of string cover felt from Schaff, and placed a cover on a Yamaha C5 in the recital hall. I currently have no plans to install undercovers.
Can a string cover be left on the piano during recitals? The first person to play with it on last week thought it was damping the tone. I’m sure it is to some extent, but was thinking it’s tonal effects are nominal, and are far outweighed by gains in tuning stability and rust prevention. What are your thoughts on this? Is the sensation of damped tone anything more than psychological? If any of you use string covers, do you leave them on in performance situations? Are the Edwards covers any different in terms of basic properties from the Schaff felt? Does anyone use them in practice rooms, classrooms, or teaching studios? Do you meet with any resistance from faculty or students? Do you experience significant benefits for the trouble? Is there any advantage to a string cover on a piano in a teaching studio that has the lid closed all the time (I’m thinking yes, there is, because it will cover the pinblock area)?
Also, for any who have Life Saver Systems, who has the responsibility for maintaining them (i.e., filling humidifier)? Faculty at Howard seem willing to pitch in, since they are already seeing significant benefits from a little more attention to their pianos, but I’m wondering about the long term — would it be better for me to simply look in on 10-15 systems every couple of weeks?
I will sincerely appreciate all suggestions and feedback on these topics, as well as pointers to any online information, books, etc. I really want to turn things around at this school — is that possible without a new building?
Sincerely,
Paul
--
Paul Milesi
Registered Piano Technician (RPT)
Piano Technicians Guild
(202) 667-3136
(202) 246-3136 Cell
E-mail: paul at pmpiano.com
Website: http://www.pmpiano.com
Address:
3000 7th Street NE, Apt. 204
Washington, DC 20017-1402
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