I have gotten some useful information and perspectives from those who have contributed to this thread and its offspring. Thanks to all who have participated. I do have a few questions, so, if anyone has answers, I'm all ears. > From: "Encore Pianos" <encorepianos at metrocast.net> (Will Truitt) > Date: February 7, 2011 11:04:13 AM EST > > The barrel system to mount the heads is easier to adjust than the blocks, which is why so many manufacturers use it these days. To Will (or anyone else with an answer): Why are the barrel mounts easier to adjust than the blocks? It seems to me that they both allow only one axis of rotation and one axis of travel (the same axis), with everything else needing to be done with wire bends. Maybe you are referring to the gluing on of the new damper, which might require less preparatory wire bends (since the round head doesn't need to be squared to the strings), but once the new damper is glued on, isn't the adjustment process very similar? I think maybe I'm missing something here.... --- And, to anyone who does lots of upright damper work, when replacing/beefing up an older upright damper system for more efficient damping: 1) Is there an optimum configuration of trichord wedge dampers, trichord wedge and flat combination dampers, and double flat dampers (I am grouping butterfly-style flats with plain flats)? At approximately what note going up the scale do you switch from one configuration to another? 2) In choosing between single butterfly-style felts versus double butterfly-style felts versus true flats, what has been your experience and preference as for efficiency of damping? 3) What are optimal lengths for the dampers in each section? For instance, the low tenor starts with damper heads/felts with a total length of _____mm, tapering to _____mm at the tenor/treble break, etc.... 4) Is there any optimal ratio for the length of each piece of felt in a paired damper versus the space between the two pieces? I don't have any clearcut guidelines for making these decisions (which is why I'm asking). I have thus far either duplicated what is there, or, if that seemed parsimonious, beefed things up a bit to resemble what I typically see on more modern pianos. But thats pretty nebulous, and if anyone has more concrete and results-proven guidelines, I would appreciate hearing about them. Thanks, Joe DeFazio Pittsburgh -------------- next part -------------- An HTML attachment was scrubbed... URL: <http://ptg.org/pipermail/pianotech.php/attachments/20110210/8224f2cd/attachment.htm>
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