<html xmlns:v="urn:schemas-microsoft-com:vml" = xmlns:o="urn:schemas-microsoft-com:office:office" = xmlns:w="urn:schemas-microsoft-com:office:word" = xmlns:st1="urn:schemas-microsoft-com:office:smarttags" = xmlns="http://www.w3.org/TR/REC-html40"> <head> <META HTTP-EQUIV="Content-Type" CONTENT="text/html; = charset=us-ascii"> <meta name=Generator content="Microsoft Word 11 (filtered medium)"> <o:SmartTagType namespaceuri="urn:schemas-microsoft-com:office:smarttags" = name="PlaceName"/> <o:SmartTagType = namespaceuri="urn:schemas-microsoft-com:office:smarttags" name="PlaceType"/> <o:SmartTagType = namespaceuri="urn:schemas-microsoft-com:office:smarttags" name="place"/> <o:SmartTagType = namespaceuri="urn:schemas-microsoft-com:office:smarttags" name="PersonName"/>  <style>  </style>  </head> <body bgcolor=white lang=EN-US link=blue vlink=blue> <div class=Section1> Hi Wim I am glad that everything = has worked out with the D I have only 1 question, did the critic write an article = about how grait the piano sounds.  <o:p></o:p> Cootos for the fine = work.<o:p></o:p> Don Wigent E C = U<o:p></o:p> wigentd@mail.ecu.edu = <o:p></o:p> <o:p> </o:p> <o:p> </o:p> <div> <div class=MsoNormal align=center style='text-align:center'> <hr size=2 width="100%" align=center tabindex=-1> </div> From: caut-bounces@ptg.org [mailto:caut-bounces@ptg.org] On Behalf Of Barbara Richmond Sent: Monday, March 21, = 2005 3:37 PM To: <st1:PersonName = w:st="on">College and University Technicians</st1:PersonName> Subject: Re: [CAUT] D = complimented<o:p></o:p> </div> <o:p> </o:p> <div> Roger,<o:p></o:p> </div> <div>  <o:p></o:p> </div> <div> Thanks for the suggestions, but I don't quite = understand the business of the Dag screws.  Can you explain that in more detail? <o:p></o:p> </div> <div>  <o:p></o:p> </div> <div> Thanks,<o:p></o:p> </div> <div>  <o:p></o:p> </div> <div> Barbara Richmond<o:p></o:p> </div> <blockquote style='border:none;border-left:solid black = 1.5pt;padding:0in 0in 0in 4.0pt; margin-left:3.75pt;margin-top:5.0pt;margin-right:0in;margin-bottom:5.0pt'= > <div> ----- Original Message ----- = <o:p></o:p> </div> <div style='font-color:black'> From:</span= > <a href="mailto:roger.j@sasktel.net" title="roger.j@sasktel.net">Roger = Jolly</a> <o:p></o:p> </div> <div> To: <a href="mailto:caut@ptg.org" title="caut@ptg.org">College and = University Technicians</a> <o:p></o:p> </div> <div> Sent: Sunday, = March 20, 2005 8:45 PM<o:p></o:p> </div> <div> Subject: Re: = [CAUT] D complimented<o:p></o:p> </div> <div> <o:p> </o:p> </div> Hi Wim,             &= nbsp;  I'm happy every thing worked out for you. =D> Some suggestions that may be helpful to you. I have added Dag screws to the D's I look after. It makes voicing a lot = easier I can quickly push the action into position, and not have to worry about = cheek blocks and the sustenuto rod giving problems. After voicing, I back the = screws inwards a quarter of a turn. I have a couple of pieces of laminated card, so I can depress the pedal, = and slip it at the bass end of the action.  This will give an accurate = half pedal position, makes it easy to get consistent voicing in this = position.  The thickness of the card is half the thickness of the Agraffe = holes. To get good contrast at half pedal, using the string marks on the hammer = for a guide.  Chop stick needling tool, (single needle)  Insert = needle 1-1.5mm directly into crown, vertical to molding, and dead centre of = string marks.   I find it faster to reverse the action into the = action cavity.  It is also more accurate, than leaning over a larger = concert grand action. Check half peddle voicing with card inserted at bass end.  Chalk = mark the keys that require corrective action. I like to run Chromatic scales at = both pp and ff.  Checking for evenness. Regards Roger At 04:34 PM 3/20/2005, you wrote: <o:p></o:p> Today was the faculty recital on the D I've been = discussing, and the results were very favorable.   This morning I spent an hour and half tuning and spot voicing the piano, = and at 1 PM met with the professor, where he pointed out a few minor shift = voicing problems. He did say he wished there was a little more power in the 5th octave, = but I pointed out that it might make the piano too brittle. And besides, he = didn't want any changes at this point.   After the recital he looked very pleased, and thanked me for the work on = the piano. This, for me, was a big relief. I had been uptight about this for several weeks. (Ask my wife. She's been a saint for putting up with me). =   Not only was the professor happy, guess who also showed up? The critic = who slammed my piano three weeks ago. Actually, he is a good friend of mine, = and I've worked on his piano. At intermission we talked, and he said he = thought the piano sounded great.   So, the bottom line, at least for now, is that the professor is happy, = the critic is happy, and that makes me happy. (I haven't heard from the = other piano professor, but I'll worry about that some other time).   Wim Willem Blees, RPT Piano Technician <st1:place w:st="on"><st1:PlaceType w:st="on">School</st1:PlaceType> = of <st1:PlaceName w:st="on">Music</st1:PlaceName></st1:place> <st1:place w:st="on"><st1:PlaceType = w:st="on">University</st1:PlaceType> of <st1:PlaceName = w:st="on">Alabama</st1:PlaceName></st1:place><o:p></o:p><= /p> </blockquote> </div> </body> </html>