<div style="font-family:arial,helvetica;font-size:10pt;color:black"> <div id="AOLMsgPart_1_07f8b7ac-d1cd-439b-a168-477f14c1d5fc"> <div>Subject: Re: [CAUT] S&S M Strike point <div id="AOLMsgPart_1_7406151b-080b-435f-9fd6-ec97d56295a6"> <pre><pre style="color: rgb(0, 0, 0); font-family: arial, helvetica; font-size: 9pt;"><tt>I personally do not subscribe to this making the bore distance longer than needed. </tt>Historically its quite plain that many makers  allowed the actions they built to over strike somewhat and sometime by a considerable measure. I believe it was done for action geometry considerations. If a hammers is bored long it moves the shank, closer to the backcheck,rest cushion,capstan and every regulation screw lower in position which is not  always desirable. The worst thing is changing the capstan wippen interface  andcan move the entire circle of movement so that the optimal capstan/wippen heel interface position is really far from the "magic line" </pre><pre> This can results in an  action that is too heavy and inertial feeling, especially if the hammer weight is too heavy.</pre><pre> Also,...FWIW I've posted many times before hanging the hammers in a straight line in any Steinway model (prior to the plate changes in the 1990s)will result in less than optimal sustain and power and... reduces clarity and tone color with the shift engaged.</pre><pre>Dale</pre><pre style="color: black; font-family: arial, helvetica; font-size: 10pt;">Also, I bore the hammer molding so the hammer understrikes slightly when</pre></pre><pre style="color: rgb(0, 0, 0); font-size: 10pt; font-family: arial, helvetica;"><tt>new. If the hammer shank, at 90 degrees, is level with the key bed and the strike point is touching the strings - I move the shank hole 1/16" closer to the tail to cause that slight understrike. This is because the hammer gets shorter over its life time and I want, for most of the hammer's life, to have it strike top-dead-center. ari isaac</tt></pre> <div style="color: navy; font-size: 10pt; font-family: 'Comic Sans MS', sans-serif; clear: both;">Dale Erwin R.P.T. Erwin's Piano Restoration Inc. Mason & Hamlin/Steinway/U.S. pianos <a target="_blank" href="http://www.Erwinspiano.com">www.Erwinspiano.com</a> Phone: 209-577-8397 <tt><tt>     </tt></tt> </div> <div style="color: black; font-size: 10pt; font-family: arial, helvetica;">-----Original Message----- From: Ari Isaac <<a href="mailto:isaac@isaacpiano.com">isaac@isaacpiano.com</a>> To: caut <> Sent: Sun, Dec 23, 2012 11:02 am Subject: Re: [CAUT] S&S M Strike point <div id="AOLMsgPart_0_5f0f1a99-1627-4c5f-b5a7-5d325c0ef642" style="margin: 0px;font-family: Tahoma, Verdana, Arial, Sans-Serif;font-size: 12px;color: #000;background-color: #fff;"> <pre style="font-size: 9pt;"><tt>If you look at the blueprint drawing of a piano strikepoint scale, you will see the actual strike point falls between two lines that diverge from n88 to n1. At n88 the space between the two lines is 1/64" while at n1 it is almost .5". When I replace a set of hammers on any piano that is accessible to me, I start with hammer for n85 and dry fit that to enable me to slightly move it forward and backward along the shank to establish the point of best tonal results. That hammer becomes my guide for the high end of the treble section. I do the same with another hammer half way down from n85 in the high treble section to establish another sample and the same procedure, again, for the low hammer in that section. I then fill in between the three samples gluing the hammers in a straight line between those samples. The last three hammers from n85 to n88 I glue in in a straight line.I use n85 as a starting point because I find it easier to hear than n88 on most instruments. Also, I bore the hammer molding so the hammer understrikes slightly when new. If the hammer shank, at 90 degrees, is level with the key bed and the strike point is touching the strings - I move the shank hole 1/16" closer to the tail to cause that slight understrike. This is because the hammer gets shorter over its life time and I want, for most of the hammer's life, to have it strike top-dead-center. ari isaac hand made bass strings and piano hammers 416 229 2096 <a href="mailto:isaac@isaacpiano.com">isaac@isaacpiano.com</a> <a target="_blank" href="http://www.isaacpiano.com">http://www.isaacpiano.com</a> <a target="_blank" href="http://www.facebook.com/isaacpiano.com">http://www.facebook.com/isaacpiano.com</a> -----Original Message----- From: <a href="mailto:caut-bounces@ptg.org">caut-bounces@ptg.org</a> [<a href="mailto:caut-bounces@ptg.org?">mailto:caut-bounces@ptg.org</a>] On Behalf Of John Delacour Sent: December-23-12 8:44 AM To: Bob Hull; <a href="mailto:caut@ptg.org">caut@ptg.org</a> Subject: Re: [CAUT] S&S M Strike point On 22/12/2012 17:20, Bob Hull wrote: > Does someone know the strike point on string #1 for a Steinway M? > Also, if it has varied over the years, this is for a 1923 model M. > > I am building a complete new top action and want to compare that > measurement against the current strike line because this piano has had > at least one action rebuild in its history. If your hammerhead is bored at 90� with a bore length equalling the difference between the strike height and the hammer centre height then, provided your shank length is right, it will contact the string at the strike point. If you are in doubt about the shank length (distance from hammer centre to mid-point of hammerhead moulding) then measure this length for note 88. The strike proportion is probably 1/8 at note 1 as on the larger models, but if the shank length for note 1 and note 88 are the same (probably 130mm) and your hammers are properly bored then you can�t go wrong. A few millimetres divergence from some theoretical value won�t make a scrap of difference at this point in the scale. JD </tt></pre> </div> </div> </div> </div> </div>  </div>