Who needs,,,,,,,,,,

[Meyer Carl]

John!  I love your terminology (terribly traditional).  I'm going to write
that down.  Right below Del's (conventional wisdom is an idiot).

I always wondered why that felt was there.  Does anyone remove it?  Should
they?

Carl Meyer assoc.
Santa Clara, Ca.


----- Original Message -----
From: "John Musselwhite" <john@musselwhite.com>
To: <pianotech@ptg.org>; <pianotech@ptg.org>
Sent: Sunday, January 14, 2001 1:02 PM
Subject: Re: Who needs,,,,,,,,,,


> At 01:58 PM 1/13/2001 -0500, A440A@AOL.COM wrote:
>
> >Inre unfinished Steinways, John writes:
> >
> ><<it means that in a new piano *you*
> >have control over the growth of the last bit of the piano's potential
> >rather than it being realized in a modern computer controlled factory
> >somewhere just like the last one that rolled off the assembly line. That
> >should be a *good* thing, not something to complain about.>>
> >
> >Greetings,
> >    That doesn't explain why the hammershank traveling is so poor,  or
why
> > the
>
> I suspect the travelling is often poor by the time they're delivered
> because the flanges don't have a solid base on which to sit. The cloth
over
> the action rails is terribly traditional, but is it all that stable when
new?
>
> >damperwires are so unpolished that they make as much noise  as old
trichord
> >felt, or damperwires that are pressing very firmly against one side or
other
> >of the guidebushings.  It also doesn't explain why there are so often
loose
> >pins in the bridge,(I've learned to cure false beats here), or why the
key
> >bushing can be erratic.
>
> Many of these problems are evident in different vintages of instruments.
In
> some years there were worse things than that. I look after an M purchased
> new in 1972 that was a total disaster right from the showroom floor but no
> one told the owner.
>
> >    There is little reason to send a piano out with glide-bolts all over
the
> >place, or the front-pins nicked by the spacing tool of an ignorant or
> >careless worker.
>
> Glide bolts are a regulating problem. That piano has possibly been sitting
> in a crate in NYC for a while. I can't argue with sloppy workmanship
though.
>
> >    Quality control costs money, and it seems that there is a lot of
trading
> >on the name that is going on in New York.
>
> Indeed it does, Ed. I hear both Fazioli and Bosendorfer have excellent
> quality control. What do they cost... nearly twice the Steinway or only
> half again as much? What are their comparable maintenance schedules?
>
> A Yamaha CF-III costs more than an S&S D, at least here in Canada. I hear
> their quality control is good too. Perhaps if Steinway raised their
> prices  to catch up with the others they could afford quality control as
> well.  B-})
>
>                  John
>
> John Musselwhite, RPT    -     Calgary, Alberta Canada
> http://www.musselwhite.com  http://canadianpianopage.com/calgary
> email: john@musselwhite.com    http://www.mp3.com/fatbottom
>