<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> <div class=Section1> Just bend them.   <div> David Love davidlovepianos@comcast.net www.davidlovepianos.com </div> -----Original Message----- From: pianotech-bounces@ptg.org [mailto:pianotech-bounces@ptg.org] On Behalf Of Avery Todd Sent: Wednesday, July 25, 2007 6:26 AM To: Pianotech List Subject: Re: Finding the strike line another method   <div> David, </div> <div>   </div> <div> This would also entail moving the backchecks also, wouldn't it? Or can the wires </div> <div> just be bent to accomodate the strike line "curve". </div> <div>   </div> <div> Avery   </div> <div> On 7/25/07, David Love <<a href="mailto:davidlovepianos@comcast.net">davidlovepianos@comcast.net</a>> wrote: Another example of modified strike line in a Steinway B c1983.  My method is somewhat like Dale's except when I have the entire piano in the shop.  When I suspect there is a problem I hang all the hammers in the tenor and the upper treble section at 130 mm leaving the lower capo section unhung.  Most problems in Steinway's are in that section though they can drift into the upper section as well.  It's always a good idea to test strike point accuracy on the old hammers before you remove them or destring the piano. Anyway, after finding the proper strike point for C88 I set the blocks or markings on the keybed and test the lowest note in the upper treble to see if it is correct.  If it is not (in this case it wasn't) I move the action in or out (out in this case) until I find how far it needs to move.  Then I work my way up the scale until I find the note which doesn't need to be moved.  In this case C7 was fine but F6 need to come in to 127 mm and the notes between C7 and F6 progressed uniformly.  I made a mark on the key indicating a 3 mm move was necessary on F6 and C7 was ok.  Next I hung samples at the end of the lower capo section (C5 and E6) and on G5 and C6 so that the samples are fairly evenly spaced through the section.  I secure the hammers with only a tiny spot of glue on the top of the shank and don't spin the hammer as I slide it on.  That makes it very easy to remove but holds it in place so you can test for tone without the hammer rotating on you.  By moving the action in and out I found that the 127 mm hanging at F6 needed to be continued at E6 and move in to 126 mm at C6.  G5 needed to be moved in only to 128 mm.  C5 was perfectly happy at 130 mm.  I made marks on the keys to indicate the extent of the move for my samples.  I then removed the action from the piano and rehung my samples at the appropriate distance. Then I removed and rehung the hammers in the upper capo that needed to be moved to form a straight line between C7 and F6 after which I hung the rest of the hammers in the lower capo section.  I prefer this method when you have the piano in the shop rather than hang the entire section and then move all the hammers that need moving.  By sampling you can get a good indication of the extent of the curve modification without hanging, removing and then rehanging the entire section.  When you have only the action in the shop, it is probably better to hang the entire section and then figure on moving once you get back to the piano.  A simple flat tray, a straight edge, a heat gun, hammer removing pliers and reamer are all you really need to do the job quickly on site.  Hanging the hammers with Titebond trim glue to begin with will allow you to duplicate the glue collar without resorting to heating up a pot of hide glue (does anyone still use that stuff:-)).  It's a hassle, but worth the trouble when you hear a smoother tonal transition through the capo section. David Love <a href="mailto:davidlovepianos@comcast.net">davidlovepianos@comcast.net</a> <a href="http://www.davidlovepianos.com">www.davidlovepianos.com</a> </div>   </div> </body> </html>