<HTML>In a message dated 1/13/03 12:44:28 PM Central Standar= d Time, davidskolnik@optonline.net writes: <BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT= : 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">This is a 1 (one) year old pian= o, ..well within any warrantee.   How  would the dialogue rea= d if you try to obtain dealer / manufacturer  input BEFORE</U= >  reshaping the capo?   and  AFTER ?&nbsp= ;  </BLOCKQUOTE> First of all, thanks for all of the suggestions. I did write to Steinway, and this is the response back from David Kirkland. = "After-ring in the 7th oc= tave 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 tunin= g 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 h= ave my own name for it; I call it "the toy" (piano)." Subsequently, when I tuned t= he piano a day or two later, I paid more attention to the problem. I found t= hat it was e6, G#6 and b6 that were sounding the most. I could hear the othe= r notes, but not as audible. 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 go= ing to leave the piano alone.  I'm not too concerned that one student n= oticed. When faculty members start complaining, I will try to do something a= bout it. But even before I do that, I will try to convince them this is a na= tural phenomenon of the piano. (as David pointed out in anther post to me, i= t's kind of like discovering there are no dampers in the 7th or 8th octaves.= ) Wim  </HTML>