<HTML><BODY style="word-wrap: break-word; -khtml-nbsp-mode: space; -khtml-line-break: after-white-space; ">HI Dale,<DIV><BR class="khtml-block-placeholder"></DIV><DIV>Thanks for the reply!</DIV><DIV><BR class="khtml-block-placeholder"></DIV><DIV>On this piano I had actually stuck some Arledge strings in the lowest bass - I agree, the single-wound strings on an L produce a useless tone in the last few notes, and Arledge's are excellent. I recently replaced the entire bass with GC strings. The low end isn't as nice as the Arledge bass, but certainly better than the default single-wound strings. However, GC alters the string tension in the high range (to be lower) and I was suspicious this might contribute to my distaste for the tone. From what Danny at GC told me, Steinway continues the high tension in the L.</DIV><DIV><BR class="khtml-block-placeholder"></DIV><DIV>So, in another attempt I just ordered some Mapes, which I assumed (perhaps wrongly!) would follow the default Steinway tensions. I am hoping to have a better chance at reproducing that relatively terrific sound from the L I ran across, which I have just received permission to examine next Tuesday. I'll let you know what I turn up if you're interested.</DIV><DIV><BR class="khtml-block-placeholder"></DIV><DIV>As for the piano in question, the hammers are fairly old, maybe even originals (from 1925). Nice felt, old-ish but better quality than what comes on Steinways now. I personally don't have a problem with the tone of notes 27-29, in fact the "original" strings on this piano had an acceptable transition from A25-B27 - it was just the Bb26 that had a bad sound. I actually just heard a new model O on Monday, which also suffered a similar sound on Bb26, but A25 and below were fairly nice.</DIV><DIV><BR class="khtml-block-placeholder"></DIV><DIV>If you have any voicing advice I would really love to hear it! I am competent at superficial voicing, but not much more. I'm looking for a less punchy attack and a warmer-full-bodied tone. I tried a bit of needling on the shoulders, which improved the tone a bit, but I'm afraid of over-voicing so I didn't do too much.</DIV><DIV><BR class="khtml-block-placeholder"></DIV><DIV>Thanks!</DIV><DIV><BR class="khtml-block-placeholder"></DIV><DIV>- John</DIV><DIV><BR><DIV><BR class="Apple-interchange-newline"><BLOCKQUOTE type="cite"><FONT id="role_document" face="Arial" color="#000000" size="2"> <DIV> <DIV> Hey John</DIV> <DIV> The upper bass register of the Steinway L was once scaled at 70% of its breaking strength which IMO helped the power a tonal crossover at the break. Don't know what the current scaling is except I don't care for the a strings they use. The other problem IMO is that the tensions on notes 27-28-29 are too low for a good transition. Replacing them with 3 or 4 unisons of bichords improves this tremendously. </DIV> <DIV> Also If the bass strings have been replaced, most likely the string maker did not duplicate this fairly high tension in notes 22 -26 & I find the lower tensions in this area really make for a substandard sounding high bass. Arledge is doing in good job in the tension dept. & will accomadate whatever you wish.</DIV> <DIV> Other makers may or <STRONG>may not</STRONG> do this upon you request. The L monochords are also a horrible trashy sound as they are short & single wrapped and lack fundamental. A double wrapped string will open up the bottom end of the piano considerably. Talk about being stuck in the past, I mean mud. Oops . JMO coming thru again.</DIV> <DIV> By the way what kind of hammers are we talking about. This is loads to do with it. </DIV> <DIV> Dale</DIV></DIV></FONT></BLOCKQUOTE></DIV></DIV></BODY></HTML>