I will mention an interesting tip I got from yesterday's class with Roger Jolly. It was a voicing class but he made an aside that when restringing he uses a padded piece of wood to smack the bridge as he progressed, from the front side to possibly help counter bridge roll? He didn't know if it did a thing for sure but that's what he did... David I. ----- Original message ---------------------------------------- From: Michael Gamble <michael@gambles.fsnet.co.uk> To: Richard Brekne <Richard.Brekne@grieg.uib.no> Received: Sat, 12 Feb 2005 15:50:50 -0000 Subject: Re: Killer Octave & Pitch Raise >Hello Ric >Interesting post - and one which affects all who undertake the restringing >of pianos. In order to comply with the best proceedures with relation to >bringing a piano down to remove the old strings - and, more importantly??, >bringing the piano back to A=440 what, in the interests of your post, do you >believe to be the best course of attack? Please take it step-by-step if you >would be so kindly! So you're face with restringing an S&S model D........go >from there! >Regards >Michael G (UK) >----- Original Message ----- >From: "Richard Brekne" <Richard.Brekne@grieg.uib.no> >To: "Newtonburg" <pianotech@ptg.org> >Sent: Saturday, February 12, 2005 12:54 AM >Subject: re: Killer Octave & Pitch Raise >> Udo Steingręber and I got into a conversation about this in Helsinki a >> couple years back on the only opportunity I've had to sit and chat with >> him. It was part of a discussion where he was explaining why he felt >> compression soundboards were the way to go. He mentioned something about >> the so called K point (I think this is a Klaus Fenner coined term), which >> as I understood it was that point on the soundboard where crown from both >> along the grain and cross the grain intersect and is at its highest point. >> This area is exactly (and always) in the area typically refered to by >> american techs as the <<killer octave>> area, and of course varies >> somewhat from piano to piano. It is then also the exact point then that >> is most vunerable to failures. Udo was of the position that along the >> grain crowning was every bit as important as cross grain crown. Something >> to do with along the grain compression due to downbearing having a >> stablizing effect on cross grain crown and strength. He also meant that >> both these were needed to produce the kind of acoustical results he wanted >> from a soundboard. >> I'm under the impression, correct me if I am wrong, that most of the rib >> crowned methods extoled on this list do not employ any purposefull along >> the grain crowning as part of how the panels are attached to the rim, and >> therefor do not have this vunerablity. It would stand to reason that they >> too are not able to create the same acoustical results.... (whether that >> is preferable or not is an entirely different subject). >> >> Disclaimer. This description is my understanding of what Udo was saying, >> tho I beleive it is pretty accurate. Not being a soundboard engineer tho, >> I'll leave it to more experienced to explain, interpret, or whathave you >> the above. >> One other thing tho... I've always heard that large changes in pitch, and >> destringing / restringing proceedures should be carefull of this area.... >> making carefull changes that are appliled very evenly, exactly because >> this area can easily be damaged by sudden large changes in the stresses >> applied to the panel as a whole. Seems to jive well if the basic view >> above is correct to begin with. >> >> Cheers >> RicB >> >> >> >> >> >_______________________________________________ >pianotech list info: https://www.moypiano.com/resources/#archives
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