<!doctype html public "-//W3C//DTD W3 HTML//EN"> <html><head><style type="text/css"></style><title>RE: Capo Buzz</title></head><body> <div>Lance,</div> <div><br></div> <div>I would not take it for granted that this new Steinway requires this alteration, nor that you can improve the sound in this manner.  Kelly does a good job of prepping the new Steinway plates, and my experience is that the capo bars are quite hardened already, as I mentioned in my previous private post.  I would certainly discuss this issue with Steinway reps in NYC before proceeding, especially as regards warranty issues.</div> <div><br></div> <div>Charles</div> <div><br></div> <blockquote type="cite" cite><font face="Arial" size="-1" color="#000080"><b>So I guess my narrowed question is, given all of these excellent posts, is: </b> With a<u> new</u> B, should I increase the angle and slightly narrow the bar on the speaking length side, given everything else I have tried?  Is there some consensus, given the problems with the design?  And how do I determine if I have a "soft" V-bar?  Voicing did nothing permanent but continue to weaken the piano.  I plan to call Steinway first before I do anything further.  This owner of a new B is currently, officially, depressed  ;  )</font><br> </blockquote> <blockquote type="cite" cite><font face="Arial" size="-1" color="#000080"> </font><br> </blockquote> <blockquote type="cite" cite><font face="Arial" size="-1" color="#000080">I may first experiment with yarn in the duplex and PVCE glue on that segment, before shaping the bar. </font><br> </blockquote> <blockquote type="cite" cite><font face="Arial" size="-1" color="#000080"> </font><br> </blockquote> <blockquote type="cite" cite><font face="Times New Roman" color="#000080">Lance Lafargue</font><font color="#000080">, RPT</font><br> </blockquote> <blockquote type="cite" cite><font face="Times New Roman" color="#000080">LAFARGUE PIANOS</font><br> </blockquote> <blockquote type="cite" cite><font face="Times New Roman" color="#000080">New Orleans Chapter, PTG</font><br> </blockquote> <blockquote type="cite" cite><font face="Times New Roman" color="#000080">985.72P.IANO</font><br> </blockquote> <blockquote type="cite" cite><font face="Times New Roman" color="#000080">lancelafargue@bellsouth.net</font><br> </blockquote> <blockquote type="cite" cite><font face="Arial" size="-1" color="#000080"> </font><br> </blockquote> <blockquote type="cite" cite><font face="Tahoma" size="-1">-----Original Message-----<br> <b>From:</b> caut-bounces@ptg.org [mailto:caut-bounces@ptg.org]<b> On Behalf Of</b> Horace Greeley<br> <b>Sent:</b> Saturday, October 18, 2003 11:02 PM<br> <b>To:</b> College and University Technicians<br> <b>Subject:</b> Re: Capo Buzz</font><br> </blockquote> <blockquote type="cite" cite><font face="Times New Roman"> </font><br> </blockquote> <blockquote type="cite" cite><font face="Times New Roman"><br> Ron,<br> <br> At 09:47 PM 10/18/2003 +1100, you wrote:</font><br> <font face="Times New Roman"></font></blockquote> <blockquote type="cite" cite><font face="Times New Roman" size="-1">At 7:22 PM -0400 18/10/03, Ed Sutton wrote:</font><br> </blockquote> <blockquote type="cite" cite><font face="Times New Roman" size="-1"> <br> . . . Within the constraints of the S & S design, there are 3 causes of buzz: poorly shaped capo, capo bruised by rough stringing, capo too soft due to failure to case harden in casting.</font><br> </blockquote> <blockquote type="cite" cite><font face="Times New Roman"><br> Plus the fallacious practice of attempting to set the font duplex length to a harmonic of the speaking length.</font><br> </blockquote> <blockquote type="cite" cite><font face="Times New Roman"><br> I totally agree with your assessment; and think that this practice has to do with a basic misunderstanding of what the front duplex is supposed to do. <br> <br> The patent drawings help support this assumption.  I do not remember the patent descriptions sufficiently well to know if they confirm or refute what might be construed from the pictures as being a reinforcing system.  This is further complicated, I think, by the presence of the movable cast front duplexes still seen on so many older S&S pianos.<br> <br> I'm sure that there are others on the list who are much more current with this stuff than myself...maybe they'll speak up.<br> <br> Best.<br> <br> Horace<br> <br> P.S. - Almost forgot, I've heard some very good compliments about an instrument of yours that a friend of mine heard in Syndey...Opera House, maybe?  Good Show!!!</font></blockquote> <blockquote type="cite" cite><font face="Times New Roman"><br></font></blockquote> <blockquote type="cite" cite><font face="Times New Roman">hg</font></blockquote> <div><br></div> <div><br></div> <div><tt>-- </tt></div> <div>Charles Ball, RPT<br> School of Music<br> University of Texas at Austin</div> <div>ckball@mail.utexas.edu</div> </body> </html>