<html> <body> Don't forget the bichord damper felts! :-) Avery Todd At 03:13 PM 3/9/2006, you wrote: <blockquote type=cite class=cite cite=""> David,   Thanks, I will add it to my list of terms.   William         PIANO BOUTIQUE William Benjamin Piano Tuner Extraordinaire <a href="http://www.pianoboutique.biz">www.pianoboutique.biz</a> The tuner alone, preserves the tone.   <hr> <div align="center"></div> From: pianotech-bounces@ptg.org [<a href="mailto:pianotech-bounces@ptg.org" eudora="autourl"> mailto:pianotech-bounces@ptg.org</a>] On Behalf Of David Ilvedson Sent: Thursday, March 09, 2006 3:48 PM To: pianotech@ptg.org Subject: RE: Voicing of high bass on Steinway L   2 string unison... David Ilvedson, RPT Pacifica, California <hr> <div align="center"></div> Original message From: "William Benjamin" To: "Pianotech List" Received: 3/9/2006 12:18:56 PM Subject: RE: Voicing of high bass on Steinway L Dale,   Maybe it was a typo, but what is a bichords.   You have me stumped here.   William         PIANO BOUTIQUE William Benjamin Piano Tuner Extraordinaire <a href="http://www.pianoboutique.biz/">www.pianoboutique.biz</a> The tuner alone, preserves the tone.   <hr> <div align="center"></div> From: pianotech-bounces@ptg.org [<a href="mailto:pianotech-bounces@ptg.org" eudora="autourl"> mailto:pianotech-bounces@ptg.org</a>] 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     Hey John    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.    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.    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.   By the way what kind of hammers are we talking about.  This is loads to do with it.   Dale <dl> <dd>Hello,, <dd>I know the Steinway L's high bass section is notorious for being  <dd>problematic, but I am looking for advice from someone who has had  <dd>success in getting an excellent transition from the B to the Bb -  <dd>i.e. retaining the "buzz" from the C28 and B27 through to the Bb26  <dd>and A25 while maintaining a decent tone and moderate attack. <dd>I almost gave up hope of getting the sound, but just today I heard an  <dd>old Steinway L that had the *exact* the tone I was looking for: the  <dd>highest notes matched the low tenor extremely well, I was very  <dd>surprised just how well. A full tone with some (good) buzz. I'm  <dd>fairly certain they were original strings. <dd>So, I'm assuming there must be someone out there who knows what I'm  <dd>talking about and has some advice for voicing the hammer to get this  <dd>tone (as best as is possible, at least). For those who are familiar  <dd>with that not-so-pleasant sound that is so often in that Bb26 on L's  <dd>and sometimes the A25, I figured they may know a general approach to  <dd>relieving this sound. <dd>Thanks! <dd>- John </dl>  _______________________________________________ Pianotech list info: <a href="https://www.moypiano.com/resources/#archives" eudora="autourl"> https://www.moypiano.com/resources/#archives</a></blockquote></body> </html>