I replace the hammer rail felt with fine emery cloth (150 grit, I believe). This way the hammers have a better chance of staying put on those 1849 State of the Art wonders. Tradition is an admirable trait, isn't it? Regards, Jon Page At 02:04 PM 01/14/2001 -0800, you wrote: >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 > >
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