This is, I believe, suggested by Kent Webb as the solution to the problem, and one which I've been using for the past couple of years since I attended a class by him. One caveat: the left-side bevel of the hammer works best at a shallower rather than a sharper angle and in no case extends to the point of strike of the left string when the una corda pedal is undepressed. The only reason I say this is that I've seen several pianos with this treatment by otherwise well-trained technicians who simply didn't control the bevel well-enough; the voice of the left string was quite unintentionally different, and not pleasantly. Paul In a message dated 5/6/2010 11:10:35 P.M. Central Daylight Time, fssturm at unm.edu writes: On May 6, 2010, at 8:51 PM, Ed Foote wrote: Yes, something that has helped on problem pianos: I space the hammers so that on full una corda, the left edge of the hammer is even with the outside edge of the left-hand wire. Then, very lightly, file the left side of the crown so that on una corda, even though all three strings are being struck, the left hand one is only very lightly contacting the hammer. Just enough so that all strings are vibrating enough to help the wedges seat more rapidly. You get improved seating, and a usable una corda. Regards, Ed Foote RPT _http://www.uk-piano.org/edfoote/index.html_ (http://www.uk-piano.org/edfoote/index.html) That sounds like a good compromise. I'll give it a try. Regards, Fred Sturm _fssturm at unm.edu_ (mailto:fssturm at unm.edu) _http://www.createculture.org/profile/FredSturm_ (http://www.createculture.org/profile/FredSturm) = -------------- next part -------------- An HTML attachment was scrubbed... URL: <http://ptg.org/pipermail/caut.php/attachments/20100507/a4fe1480/attachment.htm>
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