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<DIV><SPAN class=036581703-24052003><FONT face=Arial color=#0000ff =
size=2>Yes
Roger,</FONT></SPAN></DIV>
<DIV><SPAN class=036581703-24052003><FONT face=Arial color=#0000ff =
size=2></FONT></SPAN> </DIV>
<DIV><SPAN class=036581703-24052003><FONT face=Arial color=#0000ff =
size=2>On the
other hand, that kind of treatment is in the end abuse to the =
instrument,
Japanese use to say that it is unfortunate, but concert prep is in the =
meantime
destroying the instrument.</FONT></SPAN></DIV>
<DIV><SPAN class=036581703-24052003><FONT face=Arial color=#0000ff =
size=2></FONT></SPAN> </DIV>
<DIV><SPAN class=036581703-24052003><FONT face=Arial color=#0000ff =
size=2>Warping up the stack more and more on Steinways finally warp =
the wood
more or less definitively I guess.</FONT></SPAN></DIV>
<DIV><SPAN class=036581703-24052003><FONT face=Arial color=#0000ff =
size=2></FONT></SPAN> </DIV>
<DIV><SPAN class=036581703-24052003><FONT face=Arial color=#0000ff =
size=2>On
soft wood less problems, but still the action may suffer if =
overdriven
mode is considered (shanks on cushion, etc) as its normal
regulation.</FONT></SPAN></DIV>
<DIV><SPAN class=036581703-24052003><FONT face=Arial color=#0000ff =
size=2></FONT></SPAN> </DIV>
<DIV><SPAN class=036581703-24052003><FONT face=Arial color=#0000ff =
size=2>I
guess you put things more "civil" after hours, if you want to keep your
instrument longer is not it ?</FONT></SPAN></DIV>
<DIV><SPAN class=036581703-24052003><FONT face=Arial color=#0000ff =
size=2></FONT></SPAN> </DIV>
<DIV><SPAN class=036581703-24052003><FONT face=Arial color=#0000ff =
size=2>Best
Regards</FONT></SPAN></DIV>
<P><FONT size=2>Isaac OLEG<BR><BR>Entretien et réparation de
pianos.<BR><BR>PianoTech<BR>17 rue de Choisy<BR>94400 VITRY sur
SEINE<BR>FRANCE<BR>tel : 033 01 47 18 06 98<BR>fax : 033 01 47 18 06 =
90<BR>cell:
06 60 42 58 77 </FONT></P>
<BLOCKQUOTE dir=ltr
style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #0000ff 2px =
solid; MARGIN-RIGHT: 0px">
<DIV class=OutlookMessageHeader dir=ltr align=left><FONT =
face=Tahoma
size=2>-----Message d'origine-----<BR><B>De :</B>
pianotech-bounces@ptg.org [mailto:pianotech-bounces@ptg.org]<B>De la =
part
de</B> Roger Jolly<BR><B>Envoyé :</B> samedi 24 mai 2003
00:33<BR><B>À :</B> Pianotech<BR><B>Objet :</B> Re: =
No Power Yamaha
revisited<BR><BR></FONT></DIV><BR>You got it TOYOTA!
<G> Do it this way even when you don't think there =
is a
problem, and note the results. You are going to be =
surprised.<BR>
On some Concert grands for favorite pianist, I will have the =
cheek
blocks in and tight, and just tension the rail a little, then =
restore
after touch by lowering the hammer line. Neat trick for a big =
concerto, for a
not so big piano. Shush! did I say that.<BR><BR>Have a =
good week
end.<BR>Roger<BR><BR><BR>At 12:49 PM 5/23/2003 +0200, you wrote:<BR>
<BLOCKQUOTE class=cite cite="" type="cite">Thanks muchly =
Roger...
<BR><BR>seems to be the description that makes the most sense so =
far. Very
roughly then, adjust the glide bolts so that they all are in contact =
with
the bed, AND all lift the balance rail to the point that the Front =
Rail is
just a nats butt away from being lifted as well... <BR><BR>Key =
height and
the rest is set afterwards. <BR><BR>Correcto ? <BR> =
<BR><BR>Roger
Jolly wrote: <BR>
<BLOCKQUOTE class=cite cite="" type="cite">Hi Avery & Ric, =
=
<BR> &nb=
sp; &nbs=
p;
I have a good minds eye view, of what is going <BR>on, but I'm not =
so sure
I can explain it well. But here goes. (Send me a =
<BR>deluxe flame suit Conrad). <BR><BR>If you have the bolts just
touching, there is no compression force acting <BR>on the balance
rail. With rapid forceful playing, there is a small amount =
<BR>of
bounce taking place at the balance rail, robbing the action of a =
lot of
<BR>energy. It gets dissipated within the frame. <BR>Jack =
the bolts
a little further down, you start to bow the cross =
<BR>struts.
and putting some compression into the rail. , and firmly seating =
<BR>it to
the bed. At the Yamaha Technical Academy, they spend a =
good
deal of <BR>time teaching you how to tune these rails in =
aurally.
takes more than a <BR>little practice to get optimum results. =
<BR>The
front rail is done first, by tapping on the front rail with a kind =
of
<BR>45 degree blow, to the leading edge of the rail. (You =
can hear
better than <BR>the traditional method of holding a key down and =
thumping
on the key, the <BR>front rail punching absorbs a lot of noise,) =
Then the
bolts are adjusted so <BR>the front rail just starts to lift, then =
back
off about 1/4 turn. Next <BR>step is get all the glides =
bedded so
the tone is the same when lifting up <BR>on the hammer rail, and =
thumping
down on the balance rail. <BR><BR>The closest analogy I can think
of, is like string bearing across the <BR>bridge. Too =
much
bearing and a loss of tone, too little loss of tone. <BR><BR>Now I =
will
crawl under my rock and smile. <BR><BR>Regards Roger <BR>
<BR> </BLOCKQUOTE>Cheers <BR>RicB <BR><BR>-- <BR>Richard Brekne =
<BR>RPT, N.P.T.F. <BR>UiB, Bergen, Norway <BR><A
href="mailto:rbrekne@broadpark.no">mailto:rbrekne@broadpark.no</A> =
<BR><A
href="http://home.broadpark.no/~rbrekne/ricmain.html"
=
eudora="autourl">http://home.broadpark.no/~rbrekne/ricmain.html</A> =
<BR><A
=
href="http://www.hf.uib.no/grieg/personer/cv_RB.html">http://www.hf.uib=
.no/grieg/personer/cv_RB.html</A>
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