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<font size=3>This post is really a keeper, Ed. Thank you. If you find
yourself <br>
idly meandering through "ETC, ETC........." some day in your
thoughts, <br>
and come up with a few more durability jewels hiding in the cracks, <br>
I'm sure we'd enjoy seeing them. <br><br>
Susan Kline <br><br>
At 08:06 PM 9/29/2006, you wrote:<br>
<blockquote type=cite class=cite cite="">Inre Vanderbilt, Joel
writes:<br><br>
<< I read this to mean that you may be doing well.<br>
The Wall Street Journal article this week lead me<br>
to believe your Chancellor is filling the coffers<br>
quite well.>><br><br>
Yes, we are well financed. Of late, Martha
Ingram donated $ 250,000,000 <br>
to Vanderbilt, so Blair School of Music got a new concert hall, new D,
new <br>
building wing, etc. <br>
One thing that helps is that we are using a lot
of pianos that I began <br>
restoring in the early 1980's. The work was done in accordance to
the <br>
procedures I learned from David Betts and Bill Garlick, and time has
proven the <br>
durability of their techniques. This makes it easier to sell the
value of <br>
rebuilding vs. loaner or trading in old pianos for new. <br>
One of our senior piano faculty is using an M
that was done in 1983 and <br>
is still performing well, (albeit getting a little light and
brassy). That <br>
action job was billed at $ 1750 at the time, so the last 23 years of use
seems <br>
like a bargain. The administration now accepts that $9,500 for a
complete new <br>
action will also be seen as a bargain in 23 more years, so they are happy
to <br>
fund that rather than spend $ 50,000 for a new piano! <br>
Refusing to cut corners, using the best
materials available, and putting <br>
in the time to do the best work requires a little faith on the front end,
but <br>
after standing the test of time, proves to be the best support for
funding <br>
top-dollar work that I can find. <br>
There are a lot of things that go into it: ie,
damper wires that are not <br>
only polished, but aligned so that they don't press into the guide
bushings, <br>
insures that the damper felt is going to stay in the same travel and the
felt <br>
lasts longer. NEVER pushing a mute into a trichord without
lifting the <br>
wedges helps longevity, too. (how many techs always lift the damper
out of the way <br>
before moving the mute through the wound trichords on a D? This is <br>
important!) Proper alignment of the underlevers to key-end
felt is crucial to <br>
durability. <br>
Stopping the damper pedal travel via felt blocks
on the trapwork levers <br>
directly over the pedal rods prevents someone's foot force from finding
its <br>
way to the upstop rail. Same goes for the sostenuto; that intermediate
lever can <br>
be broken if the original felt block by the pitman is made to take the
full <br>
force of the pedal, I like to stop it against the keybed directly over
the <br>
pedal rod, too. Una corda is often tricky, there are often cut-out
recesses under <br>
there, but a leather or hard felt stop on the top of the shift lever can
<br>
fashioned. This prevents the keyframe contact point from gradually
getting crushed <br>
by the pedal jamming it against the stop screw. <br>
I think fastidious traveling of the shanks improves
the durability of the <br>
pinning,( I pin a little firmer on school pianos). Making
sure there is no <br>
lost motion between jack and knuckle allows the knuckle to stay round for
<br>
longer periods of time. Coordinating the blow,let-off, and keydip
to prevent the <br>
jack from jamming allows the let-off punchings to live longer. Firm
jack <br>
pinning, (4-5 grams) doesn't slow repetition down at all, but prevents
jacks from <br>
going off-center with all the attendant lopsided wear and failure that
ensues. <br>
I use hide glue because I will need to replace parts in the future
and it <br>
makes it soooo easy. <br>
Needling sufficient resilience into the hammers seems to let
them live <br>
longer as opposed to leaving them so hard that all of the impact force is
<br>
concentrated in the strike zone, causing a more rapid erosion of the
felt. Hammer <br>
tails don't need to be roughened if they are cut squarely on a 3"
radius and the <br>
back-checks are properly angled. I have back-checks from the 1930's in
this <br>
school that are just fine, while I have seen poorly adjusted new ones
wear out <br>
in 10 years of heavy use. It helps to taper tails as little as
possible,too. <br>
Polished and nick-free front pins greatly increase key
bushing life. HOW <br>
can the Steinway factory have let so many of these pins be damaged in the
<br>
spacing process? The bushings will last for about the warranty
period, then you <br>
have a sloppy keyboard. I bush keys with as little caul pressure as I
can, <br>
since the more pressure on the glue, the less glue is pressed into the
felt, which <br>
effectively decreases the working dimension of the felt. Bushings
wear <br>
longer . <br>
ETC, ETC......... There is a way to build actions so that they
last. It <br>
takes longer and costs a little more, but I want every action I rebuild
to go out <br>
there as advertising for my work. I live with almost all of my
rebuilds for <br>
decades, so I want them to be as maintenance-free as possible. It frees
up <br>
budgets to cover more pianos. <br>
Regards, <br><br>
Ed Foote RPT <br>
<a href="http://www.uk-piano.org/edfoote/index.html" eudora="autourl">
http://www.uk-piano.org/edfoote/index.html</a><br>
<a href="http://www.uk-piano.org/edfoote/well_tempered_piano.html" eudora="autourl">
www.uk-piano.org/edfoote/well_tempered_piano.html</a><br>
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