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<DIV><FONT size=2 face=Arial>Thanks John, much appreciated.</FONT></DIV>
<DIV><FONT size=2 face=Arial></FONT> </DIV>
<DIV><FONT size=2 face=Arial>CT</FONT></DIV>
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<DIV style="FONT: 10pt arial">----- Original Message ----- </DIV>
<DIV
style="FONT: 10pt arial; BACKGROUND: #e4e4e4; font-color: black"><B>From:</B>
<A title=formsma@gmail.com href="mailto:formsma@gmail.com">John Formsma</A>
</DIV>
<DIV style="FONT: 10pt arial"><B>To:</B> <A title=pianotech@ptg.org
href="mailto:pianotech@ptg.org">pianotech@ptg.org</A> </DIV>
<DIV style="FONT: 10pt arial"><B>Sent:</B> Wednesday, September 26, 2012 7:07
AM</DIV>
<DIV style="FONT: 10pt arial"><B>Subject:</B> Re: [pianotech] GH1 - pitch
lock?</DIV>
<DIV><BR></DIV>Carl,
<DIV><BR></DIV>
<DIV>Are you wanting pictures of Pitchlocks on the front duplex?</DIV>
<DIV><BR></DIV>
<DIV>If so, the Pitchlock.com website has them.</DIV>
<DIV><BR></DIV>
<DIV><A
href="http://pitchlock.com/pitch-lock-string-couplers/">http://pitchlock.com/pitch-lock-string-couplers/</A></DIV>
<DIV><BR></DIV>
<DIV>
<DIV><BR></DIV>-- <BR>
<DIV>John Formsma, RPT<BR></DIV>
<DIV>Blue Mountain, MS</DIV></DIV>
<DIV><BR>
<DIV><BR>
<DIV class=gmail_quote>On Wed, Sep 26, 2012 at 12:34 AM, Carl <SPAN
dir=ltr><<A href="mailto:koko99@shaw.ca"
target=_blank>koko99@shaw.ca</A>></SPAN> wrote:<BR>
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<DIV><FONT face=Arial>Would be nice see a couple of pics of
this.</FONT></DIV>
<DIV><FONT face=Arial></FONT> </DIV>
<DIV><FONT face=Arial>CT </FONT></DIV>
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<DIV style="FONT: 10pt arial">----- Original Message ----- </DIV>
<DIV style="FONT: 10pt arial; BACKGROUND: #e4e4e4"><B>From:</B> <A
title=formsma@gmail.com href="mailto:formsma@gmail.com" target=_blank>John
Formsma</A> </DIV>
<DIV style="FONT: 10pt arial"><B>To:</B> <A title=pianotech@ptg.org
href="mailto:pianotech@ptg.org" target=_blank>pianotech@ptg.org</A> </DIV>
<DIV style="FONT: 10pt arial"><B>Sent:</B> Monday, September 24, 2012 9:49
AM</DIV>
<DIV style="FONT: 10pt arial"><B>Subject:</B> Re: [pianotech] GH1 - pitch
lock?</DIV>
<DIV><BR></DIV>The first thing that comes to my mind is will another
technician realize the Pitchlocks are there? It's fine as long as you're
the only one tuning it, but someone else might not notice them at first.
<DIV><BR></DIV>
<DIV>What about putting them close to the agraffe so they're more
visible?</DIV>
<DIV><BR></DIV>
<DIV>I've had good results with using Pitchlocks on some Steinways with
lots of front duplex noises. (On Steinway D's the C6-E6 area can be pretty
awful.) And have used them on bass bichords a time or two.</DIV>
<DIV><BR></DIV>
<DIV>-- <BR>
<DIV>John Formsma, RPT<BR></DIV>
<DIV>Blue Mountain, MS</DIV></DIV>
<DIV><BR><BR>
<DIV class=gmail_quote>On Mon, Sep 24, 2012 at 9:10 AM, Ron Koval <SPAN
dir=ltr><<A href="mailto:drwoodwind@hotmail.com"
target=_blank>drwoodwind@hotmail.com</A>></SPAN> wrote:<BR>
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class=gmail_quote><BR>I finally have come face-to-face with what has
been written about for years..<BR>An "icky" Yamaha GH1, with the
untunable group of plain wire notes in<BR>the lower tenor section.
I know I've tuned a couple of GH1's in the past,<BR>but none were
this terrible at the break. B is the lowest plain wire, and
from<BR>there up to about Eb, they couldn't ever sound decent with the
octave above.<BR><BR>I realize that there are better, more permanent,
costly options, but I wanted to give<BR>this a try for a church where I
rehearse with a men's chorus...<BR><BR>I pulled out my little canister
of pitch lock clips and went to work on the <BR>bridge side of the
strings - closer to the bridge has a minimal effect, while<BR>further
into the speaking length has a more dramatic effect. The unison
can<BR>be "tuned" by moving the clips - the further from the bridge, the
flatter the <BR>pitch.<BR><BR>It is really, "less bad" than before.
The downside is that the only way to <BR>tune those strings
now is with all three sounding - a nightmare! That, or maybe<BR>sliding
the pitch locks up and down. I'll be experimenting as the weather
changes...<BR><SPAN><FONT color=#888888><BR>Ron Koval
</FONT></SPAN></BLOCKQUOTE></DIV><BR><BR clear=all>
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