<HTML>       Del,John, David L.                  Thanks for the reply. To me each  opinion is experience and personal bias. That's what makes them valuable.                    The other issue about stwy string scales are the floating hammer strike lines. Del wrote about filing hammers to death to get the killer octave to speak but more often than not I find the upper strike lines to be so finicky as to often hang parts of those two sections twice in order to find the optimal hammer strike placement.  A stingy sustain and a very weak nasal sound with the soft pedal shifted are dead give away that your strike line is not were it should be. It really doesn't matter what model were talking about either but Stwy B D and A models are particularly notorious.        The most often fix looks like a small horseshoe shape in the hammer line right at in the octave six area with note c 64 being the hammer that is usually pulled in the furthest towards the front of the piano. Often it's pulled in 1/8" or more.The horsehoe starts about note 60 and usually ends  about note 69.      Most of us have done hammer placements at note 88 area and placement there is made by pulling the action in and out to find the sweet spot. The same is done for the 6 octave. I place tape on the keybed to reference to play the notes with and without the soft pedal on and mark on the tape the location of the best sound for each note. Pull the hammers and rehang and the sustain power and soft pedal shift tones are way better. Obvious voicing problems should be checked before and after placement and rectified accordingly.     In the case of the sanderson rescaled O's posted previously not only was the revised string scale choking the tone but the strike lines were in the wrong place compounding the problem of the extreme tension change for the existing new board ( Yes Del ) with the original rib scale.    Food for thought and discussion------Dale Erwin</HTML>