Restored Baldwin out the door

[Erwinspiano@aol.com]

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In a message dated 1/4/2003 7:35:01 PM Pacific Standard Time, 
mfarrel2@tampabay.rr.com writes:

> Subj: Re: Restored Baldwin out the door 
>  Date: 1/4/2003 7:35:01 PM Pacific Standard Time
>  From: <A HREF="mailto:mfarrel2@tampabay.rr.com">mfarrel2@tampabay.rr.com</A>
>  Reply-to: <A HREF="mailto:pianotech@ptg.org">pianotech@ptg.org</A>
>  To: <A HREF="mailto:pianotech@ptg.org">pianotech@ptg.org</A>
>  Sent from the Internet 
> 
> 
> 
> When you do a board this way, how do you set your downbearing? Thanks.
> 
> Terry Farrell
>  

           Terry 
           Without being terribly specific I use a pre -stressed method of 
setting bearing with a graduated downbearing pressures protocol. (Increasing 
angle of deflection ) It's described well by John Hartman in the August 1995 
"The effects of Downbearing on tone" I've come to check/confirm uniformity 
after it's strung  by using a Lowell buble gauge.  I like to see 6 lines 
(.018) of movement (residual bearing) thru the bulk of the piano with less at 
the tenor bridge end and a bit more in the very top treble. I string the 
tenor/treble chip up to pitch before I recheck/reset my bearing felts and 
shims in the bass to get appox. 1/2 degree bearing at the crossover down to 
zero in the bottom of the mono chords. 
    This is especially sensitive and critical to me when setting bearing on 
the dreaded cantilever bass bridges so I wait till I can see a very clear 
picture as how the board squashes down under the plain wire load. This way I 
can call it right on. 
   Regards--Dale Erwin

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