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<DIV>In a message dated 10/25/2003 8:06:48 AM Pacific Daylight Time, Erwinsp=
iano writes:</DIV>
<BLOCKQUOTE style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: blue =
2px solid">
<DIV>PM Pacific Daylight Time, <FONT size=3><STRONG>davidlovepianos@earthl=
ink.net writes:</STRONG></FONT></DIV>
<DIV><FONT size=3><STRONG> Dave</STRONG></FONT></DIV>
<DIV><FONT size=3><STRONG> Good post, good ideas. To me this p=
art a very important aspect of "Making a sound board" & making it w=
ork. I figured that this thread would cover</STRONG></FONT> <STRONG><F=
ONT size=3>many aspects of good belly work and without good bridge wo=
rk & bearing setups the board won't work at its optimum. I'm hoping othe=
r rebuilders will offer alternate techniques on any phase of this procedure.=
I've already learned something new to try.</FONT></STRONG></DIV>
<DIV><STRONG><FONT size=3> I my self will try this technique although=
I don't have much problem with the mylar way, especially the 10 mil st=
uff but it's important to be on the lookout for unparallel front and re=
ar pin lines & to refrain from copying mistakes. Any technique that=
builds accuracy I'm all for it.</FONT></STRONG></DIV>
<DIV><STRONG><FONT size=3> When I started the tear down list y=
esterday I forgot to include scribing a line on the belly rail where the gui=
de rails are attached and the treble caps screws are located. I like to hit =
the original hole whenever possible & appropriate, which is usually. Als=
o I record the angle of the boards grain orientation off the spine/flat side=
. Most older boards are either 40 or 45 degrees.</FONT></STRONG></DIV>
<DIV><STRONG><FONT size=3> Knocking out the board is kinda of =
fun actually. It's also an acquired technique. So since all the relevant dat=
a has been recorded. We usually stand the piano on its side and Trix , =
the boys & I take a piece of heavy pin block and start hitting the rib e=
nd at the case to break the glue joints loose. A little pop usually tells yo=
u there letting go. I try to get it out intact as possible but it's going to=
splinter up some. That's OK. We just tape the pieces back on later for a cl=
earer picture of the board. I save the rib ends where feathering is so I can=
copy these to whatever degree I wish. I use a crow bar or whatever I can ge=
t in along under the belly rail to pry it out. Some boards practically fall =
out, others just don't want to leave home.</FONT></STRONG></DIV>
<DIV><STRONG><FONT size=3> </FONT></STRONG></DIV>
<DIV><STRONG><FONT size=3> Regard-- Off to the College to catc=
h up--Dale</FONT></STRONG></DIV>
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2px solid">
<DIV><FONT face="MS Sans Serif" size=2>The bridge I just did I ended up =
laying out from scratch rather than trying to follow a pattern, an idea I go=
t from Del Fandrich. I found this to be easier and more accurate sinc=
e I was rescaling and making slight alterations to the speaking lengths=
. It also allows you to avoid duplicating mistakes on the previous lay=
out. The method I used was to first mark on the plate the center strin=
g locations on each hitch pin. I used a dummy tuning pin with a string=
attached (Mazzaglia) which I put into the center tuning pin hole on the pla=
te and wrapped the string around the corresponding hitch pin. Ey=
eball the string in a straight line through the capo (or from the agraffe) a=
nd over the bridge and make a pencil mark right under the string on the fron=
t and back of the bridge. Take a small straightedge and draw a line, m=
ove to the next one. When you are done look at the overall spacing and=
make any co! rrections to get it looking even. From there measure you=
r speaking lengths and mark on the line the front center pin location. =
Using one of several three hole punches I also got from Mazzaglia (dependin=
g on spacing), mark you pin locations. Measure from the front row=
to the back row at whatever pin spacing you are using and mark the back row=
center pin. Using the three hole punch, mark the back row. At t=
hat point, if you are going to paint graphite on the bridge to, do it then, =
it makes it much easier to see where you are notching if your eyes aren't as=
sharp as they once were, like mine. Drill your bridge pin holes. =
; Then mark the side of the notch at 90+ degrees (whatever you use, I u=
se 93) off the front pin line. I use a small piece of mylar cut a=
t the proper angles which a lay along the pin line. Look over your mar=
kings to see that they are evenly spaced. Cut along the line with a sm=
all saw to unif! orm depth (don't overshoot the hole, use a chisel for that =
last bit). Then cut your notches. </FONT></DIV>
<DIV><FONT face="MS Sans Serif"></FONT><FONT size=2></FONT> </DIV>
<DIV><FONT face="MS Sans Serif" size=2>I've gone beyond my point a bit, =
but I found that laying out the bridge from scratch eliminated worrying abou=
t how precise the pattern was and trying to copy it. I still make the =
pattern because it gives me the location for screws in the top of the bridge=
when I am gluing down the new cap (on an old board), and lets me know gener=
ally where I should cut my bearing points, and out of habit. But layin=
g out new gave me better results and it may even have been faster. </F=
ONT></DIV>
<DIV><FONT face="MS Sans Serif"></FONT><FONT size=2></FONT> </DIV>
<DIV>
<DIV><FONT size=2>David Love</FONT></DIV>
<DIV><A title=mailto:davidlovepianos@earthlink.net href="mailto:davidlov=
epianos@earthlink.net"><FONT size=2>davidlovepianos@earthlink.net</FONT></=
A></DIV>
<DIV><FONT size=2></FONT> </DIV></DIV></BLOCKQUOTE></BLOCKQUOTE></DIV=
>
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