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<DIV><STRONG><EM>Hi Phil</EM></STRONG></DIV>
<DIV><STRONG><EM> The upright part of this exercise is rather a new
venture & both times on Steinway uprights which received new butts &
shanks. Knowing that the problem children notes are always in the
same area/octave 5 & 6, I just left the shanks a bit long &
starting experimenting. It really helps to have a nice tight dry shank to hammer
fit so positiong for optimal sound can be done without glue.</EM></STRONG></DIV>
<DIV><STRONG><EM> Make sense. We are currently rebuilding a
beautiful 1904 Fischer upright & I will pay more attention tonally to it the
killer ocatave than I would have in the past. Since Steinways are the
most common piano we work on It is these I am most familiar with & am
prepared for this up front. </EM></STRONG></DIV>
<DIV><STRONG><EM> However we are completing a BB Mason with a mild
but V shaped strike line between the first & second capo are. IE notes 70
ish are the closest to the player but only by 2 to 3 MM.</EM></STRONG></DIV>
<DIV><STRONG><EM> </EM></STRONG></DIV>
<DIV><STRONG><EM> Dale Erwin</EM></STRONG></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>Dale...
I read the request for your hammer positioning method. I understand <BR>how
you remove and reglue grand hammers down the shanks for optimal tone (I
<BR>was at your PA PTG class), but what is your method on a vertical where the
<BR>shank holes don't go all the way through the hammer molding? Do you test
<BR>each hammer in the piano, cutting the shanks as you
go?<BR><BR>Thanks,<BR><BR>Philip Jamison<BR>West Chester,
PA</FONT></BLOCKQUOTE></DIV>
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