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<DIV><FONT face=Arial size=3>"Do the pluck test, check the sustain =
through
out. Check the bearing, crown, etc. If all looks good, put on your =
plaid
pants and white shoes and do your hammer selling war =
dance."</FONT></DIV>
<DIV><FONT face=Arial size=3></FONT> </DIV>
<DIV><FONT face=Arial size=3>Cute, cute. I have a great picture in =
my head of
that. Thanks.</FONT></DIV>
<DIV><FONT face=Arial size=3></FONT> </DIV>
<DIV><FONT face=Arial size=3>Terry Farrell</FONT> <SPAN
id=__#Ath#SignaturePos__></SPAN> </DIV>
<BLOCKQUOTE dir=ltr
style="PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
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<DIV style="FONT: 10pt arial">----- Original Message ----- </DIV>
<DIV
style="BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: =
black"><B>From:</B>
<A title=tompiano@gate.net href="mailto:tompiano@gate.net">Tom =
Servinsky</A>
</DIV>
<DIV style="FONT: 10pt arial"><B>To:</B> <A =
title=pianotech@ptg.org
href="mailto:pianotech@ptg.org">pianotech@ptg.org</A> </DIV>
<DIV style="FONT: 10pt arial"><B>Sent:</B> Friday, October 26, 2001 =
6:48
AM</DIV>
<DIV style="FONT: 10pt arial"><B>Subject:</B> Re: Voicing M&H =
BB</DIV>
<DIV><BR></DIV>
<DIV><FONT face=Arial>Boy did Dale Erwin hit the nail on =
the head or
what? Well put.</FONT></DIV>
<DIV><FONT face=Arial>I too have had both ends of the spectrums with =
the late
70's M&Bs...both good and bad. But if things are set up =
correctly,
they can sound extremely good...I mean real nice. I too have a green =
monster
hammer M&B BB, everything original which is incredible. On the =
other hand,
more times than not, it arrows goes the other way. Fluffy hammers, =
poor
pinning, loose knuckle leather, the l</FONT><FONT face=Arial>ist =
goes on and
on.</FONT></DIV>
<DIV><FONT face=Arial>His advise about trying several types of =
hammers and see
what suits your fancy and the customer's is good advise. Remember =
sometimes
the sound you think is best is contrary to the customer. =
</FONT></DIV>
<DIV><FONT face=Arial>The issue with the Yamaha sound being hammered =
home with
many listeners today is many customers expect all pianos to have =
that
quality or characteristic of sound.</FONT></DIV>
<DIV><FONT face=Arial>Do the pluck test, check the sustain =
through out.
Check the bearing, crown, etc. If all looks good, put on your =
plaid
pants and white shoes and do your hammer selling war =
dance.</FONT></DIV>
<DIV><FONT face=Arial>Tom Servinsky,RPT</FONT></DIV>
<BLOCKQUOTE
style="PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
<DIV style="FONT: 10pt arial">----- Original Message ----- </DIV>
<DIV
style="BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: =
black"><B>From:</B>
<A title=erwinpiano@msn.com =
href="mailto:erwinpiano@msn.com">DALE ERWIN</A>
</DIV>
<DIV style="FONT: 10pt arial"><B>To:</B> <A =
title=pianotech@ptg.org
href="mailto:pianotech@ptg.org">pianotech</A> </DIV>
<DIV style="FONT: 10pt arial"><B>Sent:</B> Thursday, October 25, =
2001 10:35
AM</DIV>
<DIV style="FONT: 10pt arial"><B>Subject:</B> Re: Voicing M&H =
BB</DIV>
<DIV><BR></DIV>
<DIV>Hey Ron O and list</DIV>
<DIV> </DIV>
<DIV> Although the Mason & Hamlin BB =
has
tremendous potential I find that many especially from the late =
1970's
are tonally disappointing and some down right dismal and =
it's not
all hammer problems. I also have one from that era that's =
to die
for and it had the green monsters and poor action to start. =
What
gives!!!</DIV>
<DIV> Having worked on a many of these I think =
it's safe
to say that when the bellywork is set up right they're truly
Glorious(with the break being the exception, BUT AS IS IN ANY GOOD =
PIANO
,THE BETTER THE BELLY SET UP THE LESS NOTICIABLE THESE WEAKNESSES =
ARE.
(Sorry not shouting). By setup I mean rib crowned,nicely =
diaphramized,
nice bridge work and very healthy and adequate amounts of =
bearing and
voicing of course. If this isn't the case then the kind o =
problems
Terry F. is having will not lend themselves well to a Full Mason BB =
sound.
It's a rather fickle system. It really needs a cutoff bar added as =
well as
detuned front duplexes with less counterbearing angle as they =
frequently
break strings.</DIV>
<DIV> Who knows maybe you could get it to =
sound like
a Yamaha if the boards that stingy.I.E loud attack short =
decay. Terry
do some plucking of the strings in the treble and if the sing freely =
and
bloom with out plucking real hard you may have a chance with a good
hammer. Able, Ronsen and Isaac hammers all work well in these =
pianos.
If you need samples I can send you some of each, I think.</DIV>
<DIV> My suggestion would be to install a few of =
these
hammers and voice them and see which way the wind is =
blowing.</DIV>
<DIV> </DIV>
<DIV> Best---Dale Erwin</DIV>
<DIV> </DIV>
<DIV> </DIV>
<DIV></DIV>
<DIV> </DIV>
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<DIV style="FONT: 10pt Arial">----- Original Message -----</DIV>
<DIV
style="BACKGROUND: #e4e4e4; FONT: 10pt Arial; COLOR: =
black"><B>From:</B>
Overs Pianos</DIV>
<DIV style="FONT: 10pt Arial"><B>Sent:</B> Thursday, October 25, =
2001 1:27
AM</DIV>
<DIV style="FONT: 10pt Arial"><B>To:</B> pianotech@ptg.org</DIV>
<DIV style="FONT: 10pt Arial"><B>Subject:</B> Re: Voicing =
M&H BB</DIV>
<DIV> </DIV>Terry,<BR><BR>>Junk hammers? I'll buy that. =
But why
the HUGE change in tone across the<BR>>break? I would think =
that if all
the hammers are whatever grade of junk,<BR>>then this must go =
way
beyond hammers only.<BR>><BR>>Del or Ron? Any input from a
belly/scaling perspective?<BR><BR>While I am unsure whether the BB =
you
describe bears any scaling or<BR>bridge layout resemblance to the =
current
BB, I had a look and listen<BR>to the new BB which was displayed =
at Reno
(at a quiet time in the<BR>loading dock after the convention when =
our
piano was being loaded out<BR>on the Monday morning). My =
impression of
this instrument was that the<BR>impedance matching across the =
break
between the treble and bass<BR>bridge was perhaps one of most =
varied I had
encountered on a 7'<BR>grand. Its even more dramatic than the =
Steinway B.
Both get<BR>progressively thinner toned heading down towards the =
break,
then<BR>'boomy' and 'fat' at the first note on the bass =
bridge.<BR><BR>A
quick look at the location (read distance) of the bridges out =
from<BR>the
inner rim told the story. Tapping on the ends of the =
bridges<BR>further
confirmed my suspicion (yes you can do this even when the<BR>piano =
is
strung - try it!). The upper end of the bass bridge was<BR>located =
far
away from the inner rim (as is typical on so many<BR>pianos), =
while the
lower end of the treble bridge headed over towards<BR>the bass =
side to end
up too close to the rim. The poor tonal<BR>transition was mostly a =
consequence of the bridge location on the<BR>board, but the =
'hockey stick'
treble scale didn't help either. The<BR>tension was =
obviously
falling away rather badly towards to lower<BR>tenor area of the =
long
bridge. I would like to get a copy of the<BR>speaking lengths and =
wire
diameters if any one has info on hand. If<BR>anyone's got the =
scale I
would like to get it as an attachment. Send<BR>it to
mailto:ron@overspianos.com.au<BR><BR>When there is a major change =
in the
response of the board over the<BR>break, there is nothing the =
voicer can
do to fix the transition.<BR><BR>Actually, I was somewhat =
disappointed at
the design of the BB. I had<BR>heard so much about the piano =
before going
to Reno, so I was<BR>expecting something really good.<BR><BR>Ron
O<BR>--<BR>______________________________<BR><BR>Website:
=
http://www.overspianos.com.au<BR>Email: &nbs=
p;
=
mailto:ron@overspianos.com.au<BR>______________________________<BR></BLOC=
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