<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN"> <HTML xmlns="http://www.w3.org/TR/REC-html40" xmlns:o = "urn:schemas-microsoft-com:office:office" xmlns:w = "urn:schemas-microsoft-com:office:word" xmlns:st1 = "urn:schemas-microsoft-com:office:smarttags"><HEAD> <META http-equiv=Content-Type content="text/html; = charset=us-ascii"> <META content=Word.Document name=ProgId> <META content="MSHTML 6.00.2800.1226" name=GENERATOR> <META content="Microsoft Word 10" name=Originator><LINK href="cid:filelist.xml@01C396E2.BAC6C570" = rel=File-List><o:SmartTagType name="PersonName" namespaceuri="urn:schemas-microsoft-com:office:smarttags"></o:SmartTagT= ype> <STYLE>  </STYLE> </HEAD> <BODY lang=EN-US style="tab-interval: .5in" vLink=purple = link=blue> <DIV>Lance,</DIV> <DIV> </DIV> <DIV>By all means weave in a small piece of flange bushing cloth or yarn in the = duplex length. Moving it tight up against the duplex (away from the capo) will = minimize the deadening effect on the speaking length.</DIV> <DIV> </DIV> <DIV>You can test how much deadening there might be = using your finger on the duplex. Repeatedly strike the key of the offending = note and alternately touch and lift your finger off the duplex length. Touch the = duplex in different spots closer and farther from the duplex. All the while = listen to the tone, projection, sustain of the note. Touching nearer the capo will often deaden the tone, but not always. There are hundreds = if not thousands of grands (not just S&S) that have little bits of felt = woven in the duplex length to cut off those annoying high harmonics. You can = often do this without deadening the tone. Test it for yourself.</DIV> <DIV> </DIV> <DIV>As has been said very well here, it is not a cure. But sometimes it is the = only option you have.</DIV> <DIV> </DIV> <DIV>Alan McCoy</DIV> <DIV>____________________________________________ Alan McCoy, RPT Eastern Washington University 509-359-4627 amccoy@mail.ewu.edu </DIV>= <DIV> </DIV> <DIV> -----Original = Message----- From: caut-bounces@ptg.org [mailto:caut-bounces@ptg.org]On Behalf Of = Lance Lafargue Sent: Monday, October 20, 2003 6:18 AM To: = 'College and University Technicians' Subject: RE: Capo Buzz </DIV> <BLOCKQUOTE dir=ltr style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #800000 2px = solid; MARGIN-RIGHT: 0px"> <DIV class=Section1> So I guess my narrowed question is, given all of these excellent posts, = is:  With a = new 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 =  ;  ) = <o:p></o:p> <o:p> </o:p> I may first = experiment with yarn in the duplex and PVCE glue on that segment, = before shaping the bar.  <o:p></o:p> <o:p> </o:p> <DIV> <st1:PersonName>Lance Lafargue</st1:PersonName>, = RPT<o:p></o:p> LAFARGUE PIANOS<o:p></o:p> New Orleans = Chapter, PTG<o:p></o:p> 985.72P.IANO<o:p></o:p> lancelafargue@bellsouth.net<o:p></o:p></DIV> <o:p> </o:p> -----Original Message----- From: caut-bounces@ptg.org [mailto:caut-bounces@ptg.org] On Behalf Of Horace = Greeley Sent: Saturday, October 18, = 2003 11:02 PM To: College and = University Technicians Subject: Re: Capo Buzz <o:p> </o:p> Ron, At 09:47 PM = 10/18/2003 +1100, you wrote: <![if = !supportLineBreakNewLine]> <![endif]><o:p></o:p> At 7:22 PM -0400 18/10/03, Ed = Sutton wrote: <![if !supportLineBreakNewLine]> <![endif]><o:p></o:p> . . . 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.<o:p></o:p> Plus the fallacious = practice of attempting to set the font duplex length to a harmonic of the speaking = length.<o:p></o:p> 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.  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. 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. Best. Horace 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!!! hg <![if = !supportLineBreakNewLine]> <![endif]><o:p></o:p></DIV></BLOCKQUOTE></B= ODY></HTML>