<!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 bgcolor=white lang=EN-US link=blue vlink=blue> <div class=Section1> I should have said for already hung hammers, mark the new keybed position for each note.  That will give you a guideline for the new position and the shape of the curve that the line is likely to take.    <div> David Love davidlovepianos@comcast.net </div> -----Original Message----- From: pianotech-bounces@ptg.org [mailto:pianotech-bounces@ptg.org] On Behalf Of David Love Sent: Sunday, June 04, 2006 10:09 AM To: 'Pianotech List' Subject: RE: Steinway A   There is no “too much” really unless the tail is contacting the wippen flange.  Varied strike lines are common on Steinways and 1/8” is not unusual.  Just set your samples by listening to the tone and hang the rest according to them.  If the hammers are already hung lay a strip of tape on the key bed and mark the current key frame/key bed alignment with a pencil line.   As you go through the section pulling the action out to achieve the optimum tone, note on the tape the new position of the keybed and mark the note number.  Do this for every 5 or so notes and the difference between your original line and the new line will be the amount you have to move the hammers in on the shank.  Sometimes the line is not straight and will curve inward and then back out.  If you have to move the hammers in very far, be sure that you have enough clearance at the tail so that it’s not hitting the wippen flange.    <div> David Love davidlovepianos@comcast.net </div> -----Original Message----- From: pianotech-bounces@ptg.org [mailto:pianotech-bounces@ptg.org] On Behalf Of Clark Sprague Sent: Sunday, June 04, 2006 8:43 AM To: pianotech@ptg.org Subject: Steinway A   <div> Hello, List.  I am finally down to the wire on a 1903 short A, that has been in the works for over a year, and I am thinking that I need the input from you old hands out there. </div> <div>     How much does the strike line vary in the killer octave region, when this is necessary?  I am having trouble getting consistent tone, right around  F# 5 to D6.  It is great before and after this.  I knew from the talk around the List that sometimes it is necessary to change the strike line in the Killer Octave area to achieve the best tone, but how much is workable? </div> <div>     I suspected something amiss, when the hammers that were changed before, were hung at 5" instead of 5 1/8", and the bass hammers had almost no angle on them (2 or 3 degrees).  I created my own samples, and hung the rest to them (Spurlock's jigs are GREAT).  It all worked out well, except this area.  When the action is pulled out, the tone improves dramatically in that area, but how much is too much?  What has been your experiences?  I'm going to have to do something, quickly.  HELP!! </div> <div> Clark A. Sprague, RPT </div> <div> <a href="mailto:RPcsprague4@woh.rr.com">csprague4@woh.rr.com</a> </div> <div>   </div> </div> </body> </html>