<HTML xmlns="http://www.w3.org/TR/REC-html40" xmlns:v = "urn:schemas-microsoft-com:vml" xmlns:o = "urn:schemas-microsoft-com:office:office" xmlns:w = "urn:schemas-microsoft-com:office:word"><HEAD> <META http-equiv=Content-Type content="text/html; charset=us-ascii"> <META content="Microsoft Word 11 (filtered medium)" name=Generator> <STYLE> v\:* {behavior:url(#default#VML);} o\:* {behavior:url(#default#VML);} w\:* {behavior:url(#default#VML);} .shape {behavior:url(#default#VML);} </STYLE> <STYLE>  </STYLE> </HEAD> <BODY lang=EN-US id=role_body style="BORDER-TOP-STYLE: none; BORDER-RIGHT-STYLE: none; BORDER-LEFT-STYLE: none; BORDER-BOTTOM-STYLE: none" bottomMargin=7 vLink=#000000 link=blue leftMargin=7 topMargin=7 rightMargin=7>2 string unison... David Ilvedson, RPT Pacifica, California <DIV style="PADDING-RIGHT: 5px; PADDING-LEFT: 5px; PADDING-BOTTOM: 5px; BORDER-LEFT: #000000 3px solid; PADDING-TOP: 5px"> <HR> Original message From: "William Benjamin" <PIANOBOUTIQUE@COMCAST.NET> To: "Pianotech List" <PIANOTECH@PTG.ORG> Received: 3/9/2006 12:18:56 PM Subject: RE: Voicing of high bass on Steinway L <DIV class=Section1> Dale,<o:p></o:p> <o:p> </o:p> Maybe it was a typo, but what is a bichords.   You have me stumped here.<o:p></o:p> <o:p> </o:p> William<o:p></o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <o:p> </o:p> <DIV> PIANO BOUTIQUE<o:p></o:p> William Benjamin<o:p></o:p> Piano Tuner Extraordinaire<o:p></o:p> <A href="http://www.pianoboutique.biz/">www.pianoboutique.biz</A><o:p></o:p> The tuner alone,<o:p></o:p> preserves the tone.<o:p></o:p>  <o:p></o:p></DIV> <DIV> <DIV class=MsoNormal style="TEXT-ALIGN: center" align=center> <HR tabIndex=-1 align=center width="100%" SIZE=2> </DIV> From: pianotech-bounces@ptg.org [mailto:pianotech-bounces@ptg.org] On Behalf Of Erwinspiano@aol.com Sent: Wednesday, March 08, 2006 10:42 PM To: pianotech@ptg.org Subject: Re: Voicing of high bass on Steinway L<o:p></o:p></DIV> <o:p> </o:p> <DIV> <DIV>   Hey John<o:p></o:p></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. <o:p></o:p></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.<o:p></o:p></DIV> <DIV>    Other makers may or may not 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.<o:p></o:p></DIV> <DIV>   By the way what kind of hammers are we talking about.  This is loads to do with it. <o:p></o:p></DIV> <DIV>   Dale<o:p></o:p></DIV> <BLOCKQUOTE style="BORDER-RIGHT: medium none; PADDING-RIGHT: 0in; BORDER-TOP: medium none; MARGIN-TOP: 5pt; PADDING-LEFT: 4pt; MARGIN-BOTTOM: 5pt; PADDING-BOTTOM: 0in; MARGIN-LEFT: 3.75pt; BORDER-LEFT: blue 1.5pt solid; PADDING-TOP: 0in; BORDER-BOTTOM: medium none"> Hello,, I know the Steinway L's high bass section is notorious for being  problematic, but I am looking for advice from someone who has had  success in getting an excellent transition from the B to the Bb -  i.e. retaining the "buzz" from the C28 and B27 through to the Bb26  and A25 while maintaining a decent tone and moderate attack. I almost gave up hope of getting the sound, but just today I heard an  old Steinway L that had the *exact* the tone I was looking for: the  highest notes matched the low tenor extremely well, I was very  surprised just how well. A full tone with some (good) buzz. I'm  fairly certain they were original strings. So, I'm assuming there must be someone out there who knows what I'm  talking about and has some advice for voicing the hammer to get this  tone (as best as is possible, at least). For those who are familiar  with that not-so-pleasant sound that is so often in that Bb26 on L's  and sometimes the A25, I figured they may know a general approach to  relieving this sound. Thanks! - John<o:p></o:p></BLOCKQUOTE></DIV> <DIV>  <o:p></o:p></DIV></DIV></DIV></BODY></HTML>