<div>There is also the possibility that it is the wire itself. My mentor was complaining about false beats in the treble in the newly strung pianos so his wife who does the stringing switched to Mapes international gold without telling him. He subsequently remarked how the false beats had dissappeared. Too late to change wire now so that doesn't help George.
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<div>Wire is made in a factory. Some equipment get old and worn out. They have bad days. The stock metal supplied can have variations. A lot gets by quality control. String problems will have variety depending on where the bad spots in the spool end up.
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<div>Keith Roberts<br><br> </div>
<div><span class="gmail_quote">On 3/15/07, <b class="gmail_sendername">maxpiano</b> <<a href="mailto:maxpiano@sc.rr.com">maxpiano@sc.rr.com</a>> wrote:</span>
<blockquote class="gmail_quote" style="PADDING-LEFT: 1ex; MARGIN: 0px 0px 0px 0.8ex; BORDER-LEFT: #ccc 1px solid">In a performance/theater venue, I service a Yamaha CFIII that has some fast<br>false beat issues on 2-3 keys in the top octave and very few false beats in
<br>the rest of the piano. I am told this was the piano Andre Watt used during<br>his (brief?) departure from the Steinway Artist fold some 15 years ago.<br>Nothing I have tried so far on D#7 and F7 has worked, such as tapping the
<br>bridge pins. The beats do not respond to pushing against the bridge pins<br>with a screwdriver, so I am assuming it is not an issue of loose bridge<br>pins.<br><br>George Winston is to be there a week from tomorrow. This will be about the
<br>fourth time I have tuned this piano for his concerts. He complains about<br>unisons in the treble, and doesn't seem to know how to sort out the<br>difference between bad unisons and false beats. I get the impression he is
<br>not open to the suggestion that false beats are par for the course up there,<br>and he wants all the focus he can get at the top. He has the habit of<br>carrying a bunch of rubber mutes with him and laying them next to the tuning
<br>pins wherever he detects a bad unison, both before the concert after he has<br>practiced, and during the show for touch-up at intermission. Interesting,<br>at intermission there may be some hairy unisons in the tenor/low treble with
<br>no mutes laid down, but a proliferation of them by the top octave!<br><br>I am wondering if it would help, when I go to prepare the piano a week from<br>today, a day ahead of the concert (I'll be touching it up the afternoon of
<br>the concert) if I would go prepared with emery cloth strips to shoeshine the<br>capo bar on the affected notes. I trust I could get the strings settled<br>down again after the loosening. I have also thought of Roger Jolly's
<br>suggestion of taking the rear end of a coil lifter tool (the 3 notches for<br>aligning strings), setting it onto the 3 strings of a unison and driving it<br>sideways and back, but I don't want to risk breaking strings.
<br><br>Any advice or other suggestions for quieting the false beats in the top<br>octave?<br><br>Bill Maxim, RPT<br>Columbia, SC<br><br></blockquote></div><br>