<HTML><FONT FACE=arial,helvetica><FONT COLOR="#000040" SIZE=2 FAMILY=
="SERIF" FACE="Times New Roman" LANG="0">In a message dated 9/3/2003 3=
:58:43 PM Pacific Daylight Time, sec@overspianos.com.au writes:<BR>
<BR>
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style="BACKGROUND-COLOR: #ffffff" SIZE=2 FAMILY="SANSSERIF" FACE="A=
rial" LANG="0">While we see the felt arranged both ways, quieter damping w=
ill be achieved when the plain felt is at the back.<BR>
<BR>
<BR>
Ron O.<BR>
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</FONT><FONT COLOR="#000040" style="BACKGROUND-COLOR: #ffffff" SIZE=3=
FAMILY="SERIF" FACE="Times New Roman" LANG="0"><BR>
Good answer Ron, I always wondered abou=
t that. We generally use this Stwy configuration of damper felt in oth=
er grands and it works well. I don't think I've ever heard an explaination o=
f why in vintage stwys the bass damper felt is arranged so that the longer p=
iece is in front and a quite small piece in the back. I'm going to guess tha=
t they were trying to avoid a nodal point which could hum harmonically=
. I frequently cut the basss felts in four pieces in the mono chords and fir=
st 2 bichords then I go to two pieces ,the front one being longer than the r=
ear. This arrangement give good damping except on some S&S A 2s wh=
ich I think tmight have the dampers sitting on nodal point. I've had s=
ome real trouble with damping in some of these. Perhaps this is why they wer=
e discontinued in favor of the A -3.<BR>
Dale</FONT></HTML>