<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN"> <html> <head> <META HTTP-EQUIV="Content-Type" CONTENT="text/html; charset=us-ascii"> <meta name=Generator content="Microsoft Word 10 (filtered)"> <style>  </style> </head> <body lang=EN-US link=blue vlink=blue id="role_body" bottomMargin=7 leftmargin=7 topmargin=7 rightMargin=7> <div class=Section1> When I’ve had the scales recalculated, the changes that seem to need to be made are often the tensions in the plain wire section of the low tenor to a greater degree than the wrapped tension in the high bass.  Lowering the tension in the high bass to match what is often a too low tension in the low tenor doesn’t seem like a good solution to me.  When restringing the bass on these instruments, consider having the scale recalculated and altering a few of the lower notes in the plain wire section of the tenor as part of the job.  That, combined with a blending of the wrapped strings and a change to the monchords that almost always needs to be done from the original, can help the tenor/bass transition and the low bass quality.  Mass loading at these transition points can help too.   <div> David Love davidlovepianos@comcast.net </div> -----Original Message----- From: pianotech-bounces@ptg.org [mailto:pianotech-bounces@ptg.org] On Behalf Of Erwinspiano@aol.com Sent: Thursday, March 09, 2006 6:34 AM To: pianotech@ptg.org Subject: Re: Voicing of high bass on Steinway L   <div> In a message dated 3/8/2006 8:57:55 P.M. Pacific Standard Time, bjsilva001@comcast.net writes: </div> <blockquote style='border:none;border-left:solid blue 1.5pt;padding:0in 0in 0in 4.0pt; margin-left:3.75pt;margin-top:5.0pt;margin-bottom:5.0pt'> HI Dale, <div>   </div> <div>   Because I  was very long time client Danny has been receptive to my request for raising the tension in this area  on many sets but not with any enthusiasm & this is why I went to the Arledge strings & that's OK with him. </div> </blockquote> <div> 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>   Ok </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>   Just  measure the i.ds & o.d.s from the original set of strings that you like the sound of and ask Jim Arledge to make them & he will </div> <blockquote style='border:none;border-left:solid blue 1.5pt;padding:0in 0in 0in 4.0pt; margin-left:3.75pt;margin-top:5.0pt;margin-bottom:5.0pt'> <div>   </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> </blockquote> <div>   German O? </div> <blockquote style='border:none;border-left:solid blue 1.5pt;padding:0in 0in 0in 4.0pt; margin-left:3.75pt;margin-top:5.0pt;margin-bottom:5.0pt'> <div>   </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> </blockquote> <div>   John, I'm still unclear as to what hammers your using but in any case I'll say there usually isn't anything wrong with recent Steinway Hammers except operator errors or possibly to hard from the factory.  Yup some are to hard but usually the problem is they need to be brought up which works in your favor. IMO. </div> <div>    But in general all 26 note bass pianos,  without wrapped strings on the tenor bridge, will suffer from low tensions in the  note 27 -30ish range & because of this the sound will always suffer if the hammers is too hard .  Hammers must be flexible enough to prevent tonal distortions from being prevalent..  I you are working with original hammers they were very light which is another clue.  The hammers can not be to heavy whatever you use. </div> <div>   As for the recent and always maligned factory Steinway hammer, in general I have had very good sets lately. However I always single needle test some the hammers  to check the felt density.  If  too hard I send them back. But the density & weight has been quite good lately & tone after shaping is in the ball park with less lacquer required in some cases & some areas.   I've been getting the Classic Steinway sound I want with these hammers.  The American CO.18 lb. Felt is really nice & they seem to be on a roll. JMO </div> <div>   Dale </div> <blockquote style='border:none;border-left:solid blue 1.5pt;padding:0in 0in 0in 4.0pt; margin-left:3.75pt;margin-top:5.0pt;margin-bottom:5.0pt'> <div>   </div> <div> Thanks! </div> <div>   </div> <div> - John </div> </blockquote> <div>   </div> <div>   </div> <div> Dale Erwin--Piano Restorations 4721 Parker Rd. Modesto, Calif 95357 Shop 209-577-8397 cell 209-985-0990 <a href="http://www.erwinspiano.com/">http://www.erwinspiano.com/</a> Specializing in the Restoration, Service & Sales of Steinway, Mason & Hamlin, & other fine pianos </div> </div> </body> </html>