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<DIV> Header correction---line not lin</DIV>
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<DIV> <STRONG><EM> Hi Terry</EM></STRONG></DIV>
<DIV><STRONG><EM> Actually I withheld that protocol because I was
teaching it in PA at the MARC. Now that's
over........</EM></STRONG></DIV>
<DIV><STRONG><EM> It is easiest to explain that this method evolved over
time. For example. I'd hang new hammers in a Steinway and I wouldn't like the
sound in the killer octave. I tried to voice things up out & still
had a tone that was often weak & nasal especially with the shift pedal
on. My colleague & good/friend Bob Davis gave me my first clue on
hammer strike lines 15 years ago when I was in trouble on a Steinways D
at the symphony. I had replaced the dilapidated action, re engineered
some things/raised the stack but the complaint was still the trebles
weak. That just really irritated me because old the CD from 1940s has a
text book picture perfect compression crowned belly set
up.</EM></STRONG></DIV>
<DIV><STRONG><EM> Bob said if you pull the hammers in the nasal tone
decreases & the sustain gets better especially right around c
64.</EM></STRONG></DIV>
<DIV><STRONG><EM> SO the method I used at that time, I have employed
many times. since </EM></STRONG></DIV>
<DIV><STRONG><EM> The piano is in tune the regulation is
good. The hammers are already hung in a straight line with a Nice tight
let-off ..always 1 to 1.5 mm in the treble 2 ish in the bass. The
voicing is in the ballpark.</EM></STRONG></DIV>
<DIV><STRONG><EM> The first thing one must learn is how to listen for
the defects. Always when coming to Steinways depress the shift & listen to
it as it clears the left string. Play chromatically up the scale starting at
about E-5. Listen for the very obvious change in sonority as you
approach the C-6 area & higher. If the hammers are hung in as straight
line the sound will usually become weak & dreadful. Great! You hunag a
beautiful straight set of hammers & now Erwin is telling you they won't
work. </EM></STRONG></DIV>
<DIV><STRONG><EM> Yes & they won't. AMHIK</EM></STRONG></DIV>
<DIV><STRONG><EM> The lower notes around e-5 will sound
strong & the sustain good but then this changes the further up one plays
& is most noticeable starting at about A-5 thru
F-6.</EM></STRONG></DIV>
<DIV><STRONG><EM> With the key blocks in to locate the action Place
masking tape right at the front edge of the key frame. Put it down on
the key bed. Now play C-64 & pull the action in & out with your
right hand & with the shift pedal all the way on until you find the
sweet spot where the nasal sound is gone of lessened as much as possible &
the sustain improve. Hey, you will think the piano just got a new
soundboard. Witht eh action pulled out & the tone where you want it
mark the tape in front of the note you are teating. A mark for each note will
produce a horse shoe shaped line. Measure how far the marks on the tape are
from the front of the action. This tells how far the hammers must be
moved toward you.</EM></STRONG></DIV>
<DIV><STRONG><EM> With ne hammers if you can Dry hang them
samples first & listen great. Once you know the trick you can use sample
hammers before you glue everything on to closely approximate the optimal
position. With Jurgens new hammer puller this job is a
snap.</EM></STRONG></DIV>
<DIV><STRONG><EM> A side note. If you are one who
likes to bore your hammers long the problems will be much worse because of
under centering. The hammers will hit further out away from the strike line. I
have often surmised that Steinway standard hammer bores were often designed to
under centered for this reason.</EM></STRONG></DIV>
<DIV><STRONG><EM> I usually re hang note C-6 first it will be the
hammers closest to the player. I have hung that note a frighteningly 4
to 5 mm closer to the player to make it right but it does work. Fill in the
hammer line using this one as a guide & then whistle a happy tune as your
clients tell you what a genious you are today or zee peeanno neevah zounded
zat guut. whatever.</EM></STRONG></DIV>
<DIV><STRONG><EM> When I visited Ray & at Ronsen I met a friend of
his. An Israeli who had come over & worked in the steinway restoration
dept between 1995 & 2000. Ray told him what I was doing & when
we spoke privately he said they employed this protocol on every Steinway
rebuild..</EM></STRONG></DIV>
<DIV><STRONG><EM> In closing & IMO Every Steinway model as far as I
know has this problem. Models A<B<C<D are the worst but
I've done this on L,Os etc as well. Other makes can have this malady.
Conovers (very fussy) Masons not as bad.</EM></STRONG></DIV>
<DIV><STRONG><EM> Have fun with this. Be a hero to your
clients.</EM></STRONG></DIV>
<DIV><STRONG><EM> Oh the Symphony Steinway D when corrected. I was
told I don't know what you di but it never sounded this
good.</EM></STRONG></DIV>
<DIV><STRONG><EM> Regards</EM></STRONG></DIV>
<DIV><STRONG><EM> Dale Erwin</EM></STRONG></DIV>
<DIV><STRONG><EM></EM></STRONG> </DIV>
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<DIV><FONT face=Arial size=2>Dale Erwin wrote a while back about hanging
grand hammers and ending up with a less-than-straight hammer line on some
pianos to optimize tone for each note. Dale, would you care to detail
your process for doing this.</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV><FONT face=Arial size=2>Thanks.</FONT></DIV>
<DIV> </DIV>
<DIV><FONT face=Arial size=2>Terry Farrell<BR>Farrell Piano</FONT></DIV>
<DIV> </DIV>
<DIV><FONT face=Arial size=2><A title=http://www.farrellpiano.com/
href="http://www.farrellpiano.com/">www.farrellpiano.com</A><BR><A
title=mailto:terry@farrellpiano.com
href="mailto:terry@farrellpiano.com">terry@farrellpiano.com</A></FONT></DIV></FONT></BLOCKQUOTE></DIV>
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