<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN"> <HTML><HEAD> <META content="text/html; charset=iso-8859-1" = http-equiv=Content-Type> <META content="MSHTML 5.00.2314.1000" name=GENERATOR> <STYLE></STYLE> </HEAD> <BODY bgColor=#ffffff> <DIV><FONT size=2>List,</FONT></DIV> <DIV><FONT size=2>About the only time seating strings seems effective = IMHO is on those pianos that have not experienced what I like to call "wire conformation".The perfect example is on a new or newly restrung piano. = (Assuming no bridge problems, i.e., loose pins or already dented bridge caps.) = Surely the lack of a good bend on the wire around the pin is as much a part of the = equation as those that think seasonal movement of the bridge produces a change in = the wire to bridge contact area.</FONT></DIV> <DIV><FONT size=2>Having done my stint at local dealerships for the = past ten years, I really believe that most of the instruments, from a variety of manufacturers, need some type of massaging of the wire at the bridge = pins. I can see it, and I can certainly hear the differences of before and after = application of seating techniques. Like I said, only those instruments that exhibit = no other problems are ever going to respond satisfactorily, however. = </FONT></DIV> <DIV> </DIV> <DIV><FONT size=2>This week I kept track of all of the pianos I = serviced for false beating in the treble. I find it amazingly calming to diagnose the = offending pianos' problems and try and come up with either a plan of = action or at least an understanding of what remedies will realistically improve = them or not as the case may be. </FONT></DIV> <DIV> </DIV> <DIV><FONT size=2>FWIW here's my findings:</FONT></DIV> <DIV><FONT size=2>Kawai older KG-3 grand --no improvement after = seating. Pulled off one string and found severe cut in bridge top. No chance of fix today.</FONT></DIV> <DIV> </DIV> <DIV><FONT size=2>Yamaha P22 -- Had No dealer prep. Improved dramatically after light tap with brass rod, with no false beating = evident.Wire very obviously moves when tapping.</FONT></DIV> <DIV> </DIV> <DIV><FONT size=2>Steinway B -- Hit and miss work over five years. No improvement by seating with brass rod by tapping or sliding along wire. = Did make significant improvement pulling wire into bridge pin and eliminating a = large radius bend in the wire. </FONT></DIV> <DIV> </DIV> <DIV><FONT size=2>Farrand upright -- Last three octaves every wire was = beating. Most of the problem was loose bridge pins. I'm going to let down = tension, remove wire and super glue 'em. I'll let you know what happens.</FONT></DIV> <DIV> </DIV> <DIV><FONT size=2>Yamaha C3 -- newer, evidence of some prepping, but = several false beating wires in high treble. Only improved one note after seating = efforts. Did not check bridge top.</FONT></DIV> <DIV> </DIV> <DIV><FONT size=2>Kohler & Campbell SKV 48 -- Three years old. = Tapping wires produced fair results, but my opinion is the cap is very soft, allowing = bridge pins to move. Afraid I would dent this cap if seating were done too aggressively.</FONT></DIV> <DIV> </DIV> <DIV><FONT size=2>A.B. Chase 5'3"  1927. Zero false beats. Clear = tone all the way to top. Absolutely amazing. Bridge looks like very hard old = wood. Difficult to even see the grain patterns. Hmmmmmmm, are we missing = something here?</FONT></DIV> <DIV> </DIV> <DIV><FONT size=2>Joseph Alkana</FONT></DIV> <DIV> </DIV> <DIV> </DIV> <DIV><FONT size=2> </FONT></DIV> <DIV> </DIV> <DIV> </DIV> <DIV> </DIV> <DIV> </DIV> <DIV> </DIV></BODY></HTML>