<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 <br> </div>
<div><span class="gmail_quote">On 7/25/07, <b class="gmail_sendername">David Love</b> <<a href="mailto:davidlovepianos@comcast.net">davidlovepianos@comcast.net</a>> wrote:</span>
<blockquote class="gmail_quote" style="PADDING-LEFT: 1ex; MARGIN: 0px 0px 0px 0.8ex; BORDER-LEFT: #ccc 1px solid"><br>Another example of modified strike line in a Steinway B c1983. My method is<br>somewhat like Dale's except when I have the entire piano in the shop. When
<br>I suspect there is a problem I hang all the hammers in the tenor and the<br>upper treble section at 130 mm leaving the lower capo section unhung. Most<br>problems in Steinway's are in that section though they can drift into the
<br>upper section as well. It's always a good idea to test strike point<br>accuracy on the old hammers before you remove them or destring the piano.<br>Anyway, after finding the proper strike point for C88 I set the blocks or
<br>markings on the keybed and test the lowest note in the upper treble to see<br>if it is correct. If it is not (in this case it wasn't) I move the action<br>in or out (out in this case) until I find how far it needs to move. Then I
<br>work my way up the scale until I find the note which doesn't need to be<br>moved. In this case C7 was fine but F6 need to come in to 127 mm and the<br>notes between C7 and F6 progressed uniformly. I made a mark on the key
<br>indicating a 3 mm move was necessary on F6 and C7 was ok. Next I hung<br>samples at the end of the lower capo section (C5 and E6) and on G5 and C6 so<br>that the samples are fairly evenly spaced through the section. I secure the
<br>hammers with only a tiny spot of glue on the top of the shank and don't spin<br>the hammer as I slide it on. That makes it very easy to remove but holds it<br>in place so you can test for tone without the hammer rotating on you. By
<br>moving the action in and out I found that the 127 mm hanging at F6 needed to<br>be continued at E6 and move in to 126 mm at C6. G5 needed to be moved in<br>only to 128 mm. C5 was perfectly happy at 130 mm. I made marks on the keys
<br>to indicate the extent of the move for my samples. I then removed the<br>action from the piano and rehung my samples at the appropriate distance.<br>Then I removed and rehung the hammers in the upper capo that needed to be
<br>moved to form a straight line between C7 and F6 after which I hung the rest<br>of the hammers in the lower capo section. I prefer this method when you<br>have the piano in the shop rather than hang the entire section and then move
<br>all the hammers that need moving. By sampling you can get a good indication<br>of the extent of the curve modification without hanging, removing and then<br>rehanging the entire section. When you have only the action in the shop, it
<br>is probably better to hang the entire section and then figure on moving once<br>you get back to the piano. A simple flat tray, a straight edge, a heat gun,<br>hammer removing pliers and reamer are all you really need to do the job
<br>quickly on site. Hanging the hammers with Titebond trim glue to begin with<br>will allow you to duplicate the glue collar without resorting to heating up<br>a pot of hide glue (does anyone still use that stuff:-)). It's a hassle,
<br>but worth the trouble when you hear a smoother tonal transition through the<br>capo section.<br><br>David Love<br><a href="mailto:davidlovepianos@comcast.net">davidlovepianos@comcast.net</a><br><a href="http://www.davidlovepianos.com">
www.davidlovepianos.com</a><br><br></blockquote></div><br>