You know, I really do believe you're serious! You offer this juicy morsel.... ""What's to know? Tuned front duplexes have been repeatedly demonstrated to be a less than sterling idea for a long time because of their tendency to be noisy."" Then you offer a ridiculous 'fix'.... I spy an 'Emperor's new clothes syndrome'.... I'm sure I'm not the first to tell you that you are entitled to your own opinion but not your own facts. There must be a parallel universe out there in piano land.... IF a competent technician LEARNS how to handle New York hammers and the relationship between hammers and strings, most, if not all, of the 'noise' can be eliminated....If you use Renners on a NY piano, as they are intrinsically harder, the hammer fit is even more critical.... Pity is that all the wannabes out there who actually look up to older techs for advice are being fed abject crap by some who have an agenda.....something to prove....or something to sell.... What are you selling Ron?...apart from the "I know better than Steinway" line.....? P On May 29, 2010, at 8:47 PM, Ron Nossaman wrote: > Daniel Schreffler wrote: > ust put on a set of Renner blues on one Steinway "L'' and all sounds >> nice , but there is a note at the treble break that has the most hideous high overtone. Why would 87 sound fairly well and one not. When I appied my finger to the aloqout on the keyboard side of the capo it went away, but as you know so did the demension of tone. Could someone help me with this? > > The fix is to eliminate that patent feature, and replace it with a continuous counter bearing bar leaving the front duplexes as short as possible. The patch is most effectively to apply "Pitchlock" couplers to the duplex lengths. At least that's my call. > Ron N
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