<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN"> <HTML><HEAD> <META http-equiv=Content-Type content="text/html; charset=US-ASCII"> <META content="MSHTML 6.00.2800.1106" name=GENERATOR></HEAD> <BODY id=role_body style="FONT-SIZE: 12pt; COLOR: #000000; FONT-FAMILY: = Verdana" bottomMargin=7 leftMargin=7 topMargin=7 rightMargin=7><FONT id=rol= e_document face=Verdana color=#000000 size=3> <DIV> <DIV>Great and informative post, Barbara.  It was enjoyable to read, an= d it certainly helps those of us who may find ourselves facing a big unknown in the not-too-far future.  </DIV> <DIV> </DIV> <DIV>Congratulations on your success!</DIV> <DIV> </DIV> <DIV>Dave Stahl</DIV> <DIV> </DIV> <DIV>In a message dated 5/2/05 2:20:14 PM Pacific Daylight Time, piano57@flash.net writes:</DIV> <BLOCKQUOTE style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: blue 2px solid"><= FONT style="BACKGROUND-COLOR: transparent" face=Arial color=#000000 size= =2> <DIV><FONT face=Arial size=2>Hi all,</FONT></DIV> <DIV><FONT face=Arial size=2></FONT> </DIV> <DIV><FONT face=Arial size=2>There's nothing new here for the experien= ced rebuilders, but others might learn a bit from my "journey."  I've bee= n a tech since 1982, have lots of service, repair, voicing, concert & recording prep experience, but had never ventured much into the world of action rebuilding.  So, what the heck= , after a nice, long maternity leave, I started off with a D located in a hu= ge auditorium.  Probably not where most folks start off (and I certainly= wouldn't recommend it!), but once I was satisfied with the actual rebuilding part--like, hanging the hammers (the biggest challenge for me) the rest was my cup of tea.</FONT></DIV> <DIV><FONT face=Arial size=2></FONT> </DIV> <DIV><FONT face=Arial size=2>In the beginning--a 1975 Steinway D, poor= ly rebuilt about 10 years ago.  There were a number of problems.</FONT></DIV> <DIV><FONT face=Arial size=2></FONT> </DIV> <DIV><FONT face=Arial size=2>1.  The administration expected the = piano to fill (without amplification) an acoustically dead hall that seats nearly 3500.</FONT></DIV> <DIV><FONT face=Arial size=2>2.  Because of this expectation, the hammers were voiced like granite.  Because they were voiced = like granite the front duplex of </FONT></DIV> <DIV><FONT face=Arial size=2>     the lower treble had = been muted.  </FONT></DIV> <DIV><FONT face=Arial size=2>3.  The knuckle mounting distance wa= s around 15 mm.</FONT></DIV> <DIV><FONT face=Arial size=2>4.  The hammers were too heavy.</FON= T></DIV> <DIV><FONT face=Arial size=2>5.  The combination of the knuckle m= ounting distance, heavy hammers and sluggish action centers made for an especially</FONT></DIV> <DIV><FONT face=Arial size=2>     heavy touch. </FONT></DIV> <DIV><FONT face=Arial size=2></FONT> </DIV> <DIV><FONT face=Arial size=2>Last spring I had been called in as = a consultant (you know, an expert that lives at least 50 miles away--th= ough I only live 40 miles away).  I wrote up a report that recommended rebuilding or replacement and gave some other suggestions on piano care.</FONT></DIV> <DIV> </DIV> <DIV><FONT face=Arial size=2>Last fall I was asked to take on the tuni= ng duties at the auditorium.  "Not unless I can make the piano sound and= play better!"  I replied.  I was on my way.....</FONT> </DI= V> <DIV><FONT face=Arial size=2></FONT> </DIV> <DIV><FONT face=Arial size=2>Here's what I did:</FONT></DIV> <DIV><FONT face=Arial size=2></FONT> </DIV> <DIV><FONT face=Arial size=2>First I needed to determine whether = or not I could use the existing hammers.  They were barely worn Steinway hamme= rs, but *seriously* hardened.  I have had a lot of experience working with over-hardened hammers (it seems like all I ever work on are over-lacquered hammers) and many folks would groan at my method of softeni= ng them, but, it works very well for me.  After giving an init= ial voicing, I decided, yes, I could use them.  That first voicing proved= that I could remove the muting material from the treble front duplex.&nbsp= ; Immediately there was more power.</FONT></DIV> <DIV><FONT face=Arial size=2></FONT> </DIV> <DIV><FONT face=Arial size=2>Next, I knew I needed to make a change wi= th the knuckle mounting distance.  I was tempted to use the Kaplan knuckle moving jig, but then there were local grumblings made about usin= g Genuine New York Steinway parts.  There was a definite political aspect to this job, so going with Genuine New York was preferable.  </FONT></DIV> <DIV><FONT face=Arial size=2></FONT> </DIV> <DIV><FONT face=Arial size=2>After changing out the hammer shanks for = Steinway shanks with 17mm knuckle mounting distance and replacing the wippens, the down weights dropped significantly, but it still wasn't good enough--especially in the treble.</FONT><FONT face=Arial size=2> = At this point the treble weighed off a *lot* higher than the bass---that= was sort of special.   Keep in mind that I had not yet done a significant hammer shaping (or whatever you like to call it)--just a minor one when I was testing the voicing.</FONT></DIV> <DIV><FONT face=Arial size=2></FONT> </DIV> <DIV><FONT face=Arial size=2>At this point, with new wippens, new shan= ks and the old hammers, I had my first chance to tune and play the piano in = the auditorium (not in the basement where the piano resides).  Oh my,&nbs= p; that treble "knock" reached all the way down into the high tenor section--every time I tuned a note, I felt like I was getting whacked by a= stick.  Of course, I realize part of that knock was due to some = hall acoustics, but it was one of the obvious clues about changing th= e hammer weight.</FONT></DIV> <DIV><FONT face=Arial size=2></FONT> </DIV> <DIV><FONT face=Arial size=2>Next, I tested for hammer weight (ac= tually SW) in regards to tone.  I simply took the hammer assemblies of notes from above (some a fifth, some even an octave) and installed th= em down in the scale (yes, one has to re-regulate).  An important detail= to remember is the piano already had an *even* voicing on it.  The = tone blossomed on those notes (with the lighter hammers) and the touch wei= ght was getting more reasonable.  It was a great way to get an idea of what hammer weight to shoot for because my ear was the judge.  I had thought that with the initial voicing that the ton= e color progression from soft to loud was good, but it was *nothing* compare= d to the lighter, or should I say, hammers of a more appropriate weight.  </FONT></DIV> <DIV><FONT face=Arial size=2></FONT> </DIV> <DIV><FONT face=Arial size=2>After "sculpting" the hammers and doing t= he best regulation (including re-balancing the keys) and the absolute best voicing= I've ever done in my life, etc., the piano sounded great (just my opinion)= --I thought it was especially amazing because these were the same hammers that= had produced such ugly sounds earlier.  Don't get the idea that= the voicing was accomplished in a couple sittings, though!  Now= it can growl, sing sweetly and play just above a whisper.   </DIV> <DIV><FONT face=Arial size=2></FONT> </DIV></FONT> <DIV><FONT face=Arial size=2>I was under the impression that the audit= orium management had agreed that the piano would always be amplified, so I thoug= ht all<FONT face=Arial size=2> I had to do was make this piano into = a well regulated, musical  instrument.  </FONT></FONT><FONT face= =Arial size=2>The piano's first (serious) major performance was last Friday nig= ht, with the Illinois Symphony Orchestra (professional provincial group) with Yakov Kasman (silver medallist, Van Cliburn competition '97) playing the Rachmaninov <EM>Rhapsody on a theme of Paganini.  </EM></FONT></DIV> <DIV><EM><FONT face=Arial size=2></FONT></EM> </DIV> <DIV><FONT face=Arial size=2>It turned out that the orchestra refused amplification and I was worried the piano wouldn't carry the house when accompanied by a full orchestra.  But---it did!  It was a s= weet success, and I received several compliments--the best one from a pian= ist I know who always speaks exactly what's on her mind, "The piano sounded fabulous------the nuances!"  I also had compliments from members of t= he orchestra.  That was the big pay-off for me (well, I liked the money,= too.).</FONT></DIV> <DIV><FONT face=Arial size=2></FONT><FONT face=Arial size=2></FONT> </DIV> <DIV><FONT face=Arial size=2>I learned an incredible amount on this jo= b.  I had posed the question a year ago last spring on this list abo= ut whether or not bigger hammers were better for projection in a big place li= ke this.  I can answer that now.  No, they have to be juuuuuust rig= ht (like Goldilocks and the three little bears).  I even discovered that= they don't have to be voiced like granite to carry (at least in this hall).  So many of you helped me, whether you know it or not.  Thanks to those of you with whom I had private e-mail exchanges.  It = was amazing--several times when I would have a question, someone on the list w= ould oblige me and ask that certain something I needed to know. I couldn't= have done it without you.</FONT></DIV> <DIV><FONT face=Arial size=2></FONT> </DIV> <DIV><FONT face=Arial size=2><FONT face=Arial size=2>If there is m= usic to describe my adventure, I would say it's Rossini's Overture to La Cenerentola.  Go have a listen--the tentative beginning, the building= crescendo and the joyous end.  </FONT></FONT></DIV> <DIV><FONT face=Arial size=2></FONT> </DIV> <DIV><FONT face=Arial size=2></FONT> </DIV> <DIV><FONT face=Arial size=2>Again, many thanks to all of you,</FONT><= /DIV> <DIV><FONT face=Arial size=2></FONT> </DIV> <DIV><FONT face=Arial size=2>Barbara Richmond, RPT</FONT></DIV> <DIV><FONT face=Arial size=2></FONT> </DIV></FONT></BLOCKQUOTE></= DIV> <DIV></DIV> <DIV> </DIV></FONT></BODY></HTML>