M&H Screwstringer

[Jim_Harvey@yca.ccmail.compuserve.com]

     That was a very interesting summary you provided about your experience
     with the Mason & Hamlin screw-stringer. (Try saying that fast three
     times).

     The following comments are in no way supported in either the
     scientific, theoretical, or even emperical sense. There is little
     supporting data for these opinions. In addition, these statements do
     not necessarily reflect the opinions of the Mason & Hamlin Company, or
     to the inventors of the 'screw-stringer' mechanism. (who are most
     likely deceased). Rather, they reflect exclusively my limited
     experience with these instruments. Is that enough disclaimers?

     Unlike the Chickering Brothers, whom I believe stayed up nights coming
     up with methods of not making ANY two pianos alike, I believe the
     'screw-stringer' was conceptually and inherently a sound design. I
     believe its demise was caused by: (a) being too costly from a
     manufacturing standpoint, and/or (b) being too radically different
     from the mainstream to become widely accepted; likely the former.

     I believe you (Gordon) were the victim of time and circumstance, i.e.,
     irregular service, to put it mildly ["...hadn't been tuned in as long
     as anyone could remember..."] and the last tuner's fear of string
     breakage, thus leaving the top end 100c flat. Incidentally, any wire
     breakage due to rust can be repaired. The second through <whatever>
     repairs go quite fast. It's the first one that's a killer.

     The fact that you found the remainder of the piano at _only_ A-435
     after an unknown length of time supports the premise that this is
     (was) a plausible method of securing piano wire under tension. It
     removes pinblock structure and the question of loose pins from the
     circuit. This leaves the structural integrity of the back, soundboard
     movement, including any bridge roll, and wire memory as the other
     variables. Well, there is the variable of tuning technique -- more
     later.

     One of your suspicions _should_ have been correct: that of having
     infinite (or certainly finite) control over the string. I prefer to
     think of it as a vernier effect.I too do not know the correct
     nomenclature for the "do-hickeys", so will borrow "machines" from
     guitar buzzwords. Therein lies another similarity. I've known guitar
     players to curse an instrument for the same jerky motion you
     described. I've known others who insist on using <brand name> machines
     on their guitars -- to the point of replacing factory originals -- to
     eliminate this problem.

     To borrow another term, this time from motorcycles, I think you were
     working against "stiction". In addition to possible rust on the
     threaded portion, the other, sliding "do-hickey" just wasn't
     rendering. Had the string not jumped, either the screw would have
     stripped, the wire broken, or a similar effect as the recent agraffe
     discussions herein. Either way, something else negative would have
     happened.

     [Don't Try This At Home Dept.] At the risk of sounding
     un-professional, I'd have no problem adding a small amount of light
     lubricant to the threads and moving (sliding) parts of the machines.
     Perhaps administering a film of WD-40(tm) with a pipe cleaner would
     help the stiction problem. After all, there's nothing to fear about it
     running down into the pinblock, is there? The remainder of your 2-1/2
     hours were due to: (a) first attempt at an unknown situation, and
     trying to modify your natural rhythm/tool handling accordingly; (b)
     fighting the wire's reluctance to render across friction points after
     years of developing a memory, and (c) if you _did_ bring the the top
     end to pitch, that would effect the stability of the rest of the
     piano.

     Finally some thoughts on tuning technique. It becomes immediately
     obvious, even without instructions inside the piano, that one does not
     need to "over-tune" to compensate for pin flex. However, instead of
     the "pitch should always be approached from below because this type
     piano settles sharp", I prefer to think in terms of tuning up TO
     pitch, and no more. I don't think the piano settles sharp by design. I
     think this is simply a by-product of approaching the tuning with our
     customary methods. All other conditions being equal (to other pianos),
     I suspect that a few "normal" service intervals will find the piano
     quite cooperative... and incredibly stable.

     Almost forgot your statement about old action parts and pounding.
     Instead of velocity, think frequency... less energy repeated more
     times. This should help stabilize the strings just as well.

     This combination of conditions should qualify for what Newton Hunt
     calls "rare or unusual circumstances", and prices should be adjusted
     accordingly.

     I hope this provides some seat-of-the-pants insight until someone
     comes up with something more... scientific.

     Regards and good luck,

     Jim Harvey