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<DIV><FONT face=Arial size=2>And another fine thread comes unravelled, destined
to become a bit of lint on the warp & woof (or is that warped woof?) on the
tapestry of piano-techno-musico-weaving, only to be plucked off, caut
up, & cast into the rag bin of history, whereupon it may one day
reincarnate as a bit of a Wurlitzer hammer.</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV><FONT face=Arial size=2>Ah, the twists & turns of virtual fate!
:-)> (goatee, no glasses)</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV><FONT face=Arial size=2>Otto</FONT></DIV>
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style="PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
<DIV style="FONT: 10pt arial">----- Original Message ----- </DIV>
<DIV
style="BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: black"><B>From:</B>
<A title=Wimblees@aol.com href="mailto:Wimblees@aol.com">Wimblees@aol.com</A>
</DIV>
<DIV style="FONT: 10pt arial"><B>To:</B> <A title=caut@ptg.org
href="mailto:caut@ptg.org">caut@ptg.org</A> </DIV>
<DIV style="FONT: 10pt arial"><B>Sent:</B> Monday, January 13, 2003 12:16
PM</DIV>
<DIV style="FONT: 10pt arial"><B>Subject:</B> Re: after ring</DIV>
<DIV><BR></DIV><FONT face=arial,helvetica><FONT lang=0 face=Arial size=2
FAMILY="SANSSERIF">In a message dated 1/13/03 12:44:28 PM Central Standard
Time, <A
href="mailto:davidskolnik@optonline.net">davidskolnik@optonline.net</A>
writes:<BR><BR>
<BLOCKQUOTE
style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #0000ff 2px solid; MARGIN-RIGHT: 0px"
TYPE="CITE">This is a 1 (one) year old piano, ..well within any
warrantee. How would the dialogue read if you try to
obtain dealer / manufacturer input <I><U>BEFORE</I></U>
reshaping the capo? and <I><U>AFTER ?</I></U>
<BR><BR></BLOCKQUOTE></FONT><FONT lang=0 style="BACKGROUND-COLOR: #ffffff"
face=Arial color=#000000 size=3 FAMILY="SANSSERIF"><BR></FONT><FONT lang=0
style="BACKGROUND-COLOR: #ffffff" face=Arial color=#000000 size=2
FAMILY="SANSSERIF"><BR>First of all, thanks for all of the suggestions.
<BR><BR>I did write to Steinway, and this is the response back from David
Kirkland. "</FONT><FONT lang=0 style="BACKGROUND-COLOR: #ffffff" face=Arial
color=#0000ff size=2 FAMILY="SANSSERIF">After-ring in the 7th octave is okay;
it means that the soundboard is resonating well in that area, and you have a
lively piano, which is good. It shouldn't be objectionable, but the only
thing I can think of that will influence it is the tuning in the 7th
octave. Rarely, I think, do tuners give enough attention to tuning the
7th octave. Perhaps if the 7th octave were tuned better, the after-ring
would improve or diminish. And who's to say that pianists don't use the
7th octave much. As a pianist, I like the 7th octave so much that I have
my own name for it; I call it "the toy" (piano)."<BR><BR></FONT><FONT lang=0
style="BACKGROUND-COLOR: #ffffff" face=Arial color=#000000 size=2
FAMILY="SANSSERIF">Subsequently, when I tuned the piano a day or two later, I
paid more attention to the problem. I found that it was e6, G#6 and b6 that
were sounding the most. I could hear the other notes, but not as audible.
<BR><BR>The after ring is not loud. In fact, it is something you have to
listen for and it is not something that can be heard in the audience.
Therefore, I'm going to leave the piano alone. I'm not too concerned
that one student noticed. When faculty members start complaining, I will try
to do something about it. But even before I do that, I will try to convince
them this is a natural phenomenon of the piano. (as David pointed out in
anther post to me, it's kind of like discovering there are no dampers in the
7th or 8th octaves.)<BR><BR>Wim </FONT><FONT lang=0
style="BACKGROUND-COLOR: #ffffff" face=Arial color=#000000 size=3
FAMILY="SANSSERIF"><BR> <BR><BR></BLOCKQUOTE></FONT></FONT></BODY></HTML>