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<DIV><SPAN class=466565911-02022003><FONT face=Arial color=#0000ff =
size=2><SPAN
class=888141212-02022003>Hello,</SPAN></FONT></SPAN></DIV>
<DIV><SPAN class=466565911-02022003><FONT face=Arial color=#0000ff =
size=2><SPAN
class=888141212-02022003></SPAN></FONT></SPAN> </DIV>
<DIV><SPAN class=466565911-02022003><FONT face=Arial color=#0000ff =
size=2>I
understand recently that we probably don't have to apply down bearing =
the same
way on a rib crowned soundboard and on a "compression crowned" board, as =
the
last one will do it's best under a light load, while the crowned rib bar =
ask for
the down bearing to give them some more internal =
tension.</FONT></SPAN></DIV>
<DIV><SPAN class=466565911-02022003><FONT face=Arial color=#0000ff =
size=2></FONT></SPAN> </DIV>
<DIV><SPAN class=466565911-02022003><FONT face=Arial color=#0000ff =
size=2>That
makes a big difference in approach I guess.</FONT></SPAN></DIV>
<DIV><SPAN class=466565911-02022003><FONT face=Arial color=#0000ff =
size=2></FONT></SPAN> </DIV>
<DIV><SPAN class=466565911-02022003><FONT face=Arial color=#0000ff =
size=2>A
friend of mine use to fine regulate down bearing pressure with the =
string's rest
height while stringing, checking with the strings at pitch as he
goes.</FONT></SPAN></DIV>
<DIV><SPAN class=466565911-02022003><FONT face=Arial color=#0000ff =
size=2></FONT></SPAN> </DIV>
<DIV><SPAN class=466565911-02022003><FONT face=Arial color=#0000ff =
size=2>Do
some of you apply this method ?</FONT></SPAN></DIV>
<DIV><SPAN class=466565911-02022003></SPAN><SPAN =
class=466565911-02022003><FONT
face=Arial color=#0000ff size=2></FONT></SPAN> </DIV>
<DIV><SPAN class=466565911-02022003></SPAN><SPAN =
class=466565911-02022003><FONT
face=Arial color=#0000ff size=2></FONT></SPAN> </DIV></DIV>
<P><FONT size=2>Isaac OLEG<BR><BR>Entretien et réparation de
pianos.<BR><BR>PianoTech<BR>17 rue de Choisy<BR>94400 VITRY sur
SEINE<BR>FRANCE<BR>tel : 033 01 47 18 06 98<BR>fax : 033 01 47 18 06 =
90<BR>cell:
06 60 42 58 77 </FONT></P>
<BLOCKQUOTE
style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #0000ff 2px =
solid">
<DIV class=OutlookMessageHeader dir=ltr align=left><FONT =
face=Tahoma
size=2>-----Message d'origine-----<BR><B>De :</B> =
caut-bounces@ptg.org
[mailto:caut-bounces@ptg.org]<B>De la part de</B>
BobDavis88@aol.com<BR><B>Envoyé :</B> dimanche 2 =
février 2003
10:07<BR><B>À :</B> caut@ptg.org<BR><B>Objet :</B> =
Re:
shell-shock<BR><BR></FONT></DIV><FONT face=arial,helvetica><FONT =
lang=0
face=Arial size=2 FAMILY="SANSSERIF">Susan writes (Greetings, =
Susan):<BR><BR>
<BLOCKQUOTE
style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #0000ff 2px =
solid; MARGIN-RIGHT: 0px"
TYPE="CITE">I sometimes voice with shellac now (ultrablonde, pretty =
dilute),
<BR>and it leaves just a little color. I wonder if that would make =
it easier
to <BR>tell where it was going, when putting it in from the side? =
<BR>... I
wonder if anyone else has used it for initial
juicing?<BR></BLOCKQUOTE><BR><BR>Yes, Steinway used it for about fifty =
years.
I don't have anything against it except the slow dry time of the =
alcohols,
which isn't a problem on shallow juicing, but there are situations =
where the
heavier modern NY Steinway hammer needs the additional stiffness of a =
very
deep shot or even two, like in a large dead hall where the artist =
wants a very
aggressive sound at the high end of the dynamic range. Yes, there are =
other
ways to design a piano, but that particular implementation requires =
juice,
maybe multiple applications, and that is also why I don't care for the =
blocking effect of keytop plastic. <BR><BR>The color might help a =
little, but
I don't think so. You can see the wet spot from clear stuff on the =
side, but
that still doesn't help tell how deep and what direction it's =
traveling. If
you feed just a little fast, you get a big wet spot that doesn't allow =
you to
tell anything else. <BR><BR>Bob Davis</FONT> =
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