A-430

[Otto Keyes]

Actually, this can all be accomplished in a much simpler manner by removing
the action rest/return block on the bass side of the cavity, thereby
allowing the hammers to strike adjacent string to the left.  An inverted
stainless steel pot lid will make a suitable tone generation system for the
low A, though sustain may be a bit weak.  I have found this system to be far
superior in speed & accuracy of registration than Issac's method, effective
though it might be.  My experience has been that the bass screws tend to get
loose over time with the repeated cutting & re-soldering of the S&S action
rails.  The dowel also tends to begin rattling in the brass tube with the
shrinkage, & customers tend to hover around at the first whiff of smoke, or
honk of the fire extinguisher.  One needs to practice the art of deftly
thrusting the smouldering action back into the action cavity while smoking a
large Cuban cigar laced with strands of Royal George (or other favorite
felt) to mask the odor of smoking hammers.

One caveat, however.  This method necessitates some modification of the
action return spring to aid in the proper action shift.  Fortunately this is
easily accomplished with the removal of one or two of those valve springs
which you had earlier placed between the cross-members & the soundboard to
remedy that reverse crown problem.  Place these springs on the treble side
of the action to take up the slack produced by the removal of the block on
the bass side.  Strips of Kellogg's Cornflakes (tm) or other such quality
cereal boxes may be inserted on the bass end to give a quick & precise
action registration.  While removal of the springs from under the board may
cause some dead spots in the tone, these are only temporary until the action
is shifted back to A-440 and the springs re-installed.  Just assure the
customer that everything sounds a bit dead at A-415 anyway.

Oh, one other small thing, the S&S sostenuto may need a bit of monkeying
around to keep it from hanging up on, or breaking, other parts.  Please also
be aware that other slight side effects may occur as well, such as:
inconsistent voicing, irregular damper lift, hammer shank breakage, damper
wire bending &/or breakage, whippen malfunction, key binding or warping, &
uncharacteristically profane utterances from the performer followed by
violent behavior directed at the piano in question.  Do not be alarmed at
this, but rejoice that you will not be required to put the *%&^*()) springs
back, & this instrument will now get that long-overdue rebuild, compliments
of the performer's insurance company.

Otto

----- Original Message -----
From: "Fred Sturm" <fssturm@unm.edu>
To: "College and University Technicians" <caut@ptg.org>
Sent: Thursday, August 19, 2004 12:47 PM
Subject: RE: A-430


>
> > At 06:50 PM 8/19/2004 +0200, Isaac Oleg wrote:
> >
> > But , Avery, to have your piano at 415 it is fairy simple :
> > Just was the first A0 (remember to come with a sharp saw) , so the first
> > note is now A#. Regulate the left pedal accordantly.
> > Voila, your piano have transposed to 415.
> >
> > The next day (don't forget your favorite Titebond) glue back the missing
> > note. You'll have no problem with the last treble note as the music
> > played will hardly cover more than 5 octaves anyway.
> > I do that routinely on a regular basis on Steinways, and had never
> > problem with it.
> > Really why bother ?
> >
> > best and yes you can mention my name after cutting the key I live on
> > another continent but I'll accept reclamations by email (only) .
> > Izanon
> Hi Isaac,
> I guess for A-430 you would saw off half a key, yes? Then each hammer
> would strike midway between 440 and 415, and would produce an "average
> pitch" of 430. Tellement simple, n'est-ce pas? <g>
> Regards,
> Fred Sturm
> University of New Mexico
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