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<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>
<BLOCKQUOTE
style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: blue 2px solid"><FONT
style="BACKGROUND-COLOR: transparent" face=Arial color=#000000
size=2>Hello,,<BR><BR>I know the Steinway L's high bass section is notorious
for being <BR>problematic, but I am looking for advice from someone who
has had <BR>success in getting an excellent transition from the B to the
Bb - <BR>i.e. retaining the "buzz" from the C28 and B27 through to the
Bb26 <BR>and A25 while maintaining a decent tone and moderate
attack.<BR><BR>I almost gave up hope of getting the sound, but just today I
heard an <BR>old Steinway L that had the *exact* the tone I was looking
for: the <BR>highest notes matched the low tenor extremely well, I was
very <BR>surprised just how well. A full tone with some (good) buzz.
I'm <BR>fairly certain they were original strings.<BR><BR>So, I'm
assuming there must be someone out there who knows what I'm <BR>talking
about and has some advice for voicing the hammer to get this <BR>tone
(as best as is possible, at least). For those who are familiar <BR>with
that not-so-pleasant sound that is so often in that Bb26 on L's <BR>and
sometimes the A25, I figured they may know a general approach to
<BR>relieving this sound.<BR><BR>Thanks!<BR><BR>- John</FONT></BLOCKQUOTE></DIV>
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