Pinning on new flanges

[Horace Greeley]

Hi Sarah,

Quoting Sarah Fox <sarah@graphic-fusion.com>:

> The problem with Steinway's Teflon blunder was the
> loosening of the Teflon in the wooden hole with humidity changes.
> Conceivably, with wear, there could also be a problem with noise and
> runout
> (slop), as the Teflon holes wear larger.  

Actually, no; or, at least, not exactly.

There were several issues, some of which related to piano making; and some 
of which related strictly to market.  To wit:

 - The underlying problem with the original "Permafree" action was that 
marketing got ahead of engineering.  The earlier, unribbed, version did 
indeed have some trouble with humidity.

 - The later, ribbed versions were damned from birth by the combined 
problems of the original technology and (sadly) typical company arrogance.

 - For the first several years of production (beginning, I think with the 
model D sometime in 1959...dates vary), the company simply did not 
acknowledge any problems with the actions.  To my specific knowledge, 
this "policy" ran until at least 1968.  Sometime during that 9 - 10 year 
period is when Fred Drasche started teaching people how to make their own 
parallel reamers.

 - Properly set up, the ribbed bushings last virtually indefinitely.  I 
still have several clients who have them in pretty much constant use; and 
only need the occasional refitting.

 - The biggest problem with servicing those bushings over time happens when 
the hammers are shaped.  Even when the hammers are very carefully braced, 
there is often enough sideways movement to get the wear you are talking 
about.  FWIW, I am not convinced that I have ever seen teflon bushings 
simply wear out...I am sure it is possible; I am just not sure that I have 
seen it.

 - By the time the company actually decided to sell tools and kits and to 
really teach people how to work on these things, the damage was 
done...mostly by technicians who never took the time to really get the 
technique of working with them.  After all, the tolerances for "clicking" 
do rather disappear when working with felt bushings.

 - Since then, there have been any number of newer iterations of teflon-
impregnated felt used.  Some have worked better than others.  The new stuff 
is sufficiently new that it is simply too early to tell how it will hold up 
and function.

> > They are on that track today as well, with very low friction levels in
> > their hammershank flanges    At least in New York they operate this
> > way.  Hamburg is more traditional.

Hamburg is more traditional because, outside the U.S., it has more stiff 
competition from other makers and cannot get away with so much slop.  On 
top of that, as this thread has indicated, the votes are not all tallied 
yet as to the efficacy of very low friction on the hammer flange.

If you look through the archives, I am pretty sure that you will find a 
post from me a couple of years back in which I suggest several recordings 
to hear to get an idea of how too little friction affects tone.  I can't 
find it at the moment; but it should be in there someplace, if anyone is 
interested.

> Perhaps ol' Horowitz had some infuence on them, as their official
> spokesartist.  ;-)

Probably not.  He was treated just like any other artist...he paid for 
everything, there was no free ride.  He was just fortunate that he lived in 
NY and Franz was pretty much available with little notice.

> Peace,

Indeed.

Horace