<HTML>In a message dated 12/14/2002 12:31:33 PM Pacific Standard Time, sarah@gendernet.org writes: <BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">Subj: Re: Sarahs Wissner Questions Date: 12/14/2002 12:31:33 PM Pacific Standard Time From: <A HREF="mailto:sarah@gendernet.org">sarah@gendernet.org</A> Reply-to: <A HREF="mailto:pianotech@ptg.org">pianotech@ptg.org</A> To: <A HREF="mailto:pianotech@ptg.org">pianotech@ptg.org</A> Sent from the Internet                   Sarah</BLOCKQUOTE>                        Sorry,    I wasn't very clear about the uneven string lengths. This was affected by staggering the bridge pins at three different lengths from the capo. There is, inmho, no reason to change any thing but the shape or possibly the hardness. It was the bridge pin layout I changed to even the string lengths. I hope that's clear.                      Dale Erwin <BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px"> Hi Dale, <BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">                   I was just catching up on some old mail and found this. As to your question as to wether the Wissner is a direct Stwy clone of 1933 vintage I wanted to point out 1933 vintage Stwy D's had uneven speaking lengths in the first capo section and , yes uneven duplex speaking lengths as well. </BLOCKQUOTE> Cool!  Everyone's been staring at me strangely when I've told them this.  My Wissner's speaking lengths are uneven throughout both capo sections, although the unevenness in the second section is minor.  The lower and upper ends of the capo bar are approx. 5 degrees different in angle. <BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">         From conversations with others the idea was to create a different tone color but itconsequently sacrificed power. </BLOCKQUOTE> I believe my piano may suffer somewhat in power in the first capo section, although not all that much, IMO.  Of course I don't really know the power the piano would deliver if the unisons were equal length. <BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px"> On the S&S D I'm currently installing a new belly system and decided to change it back to even lengths as most Ds end up in large venues that require power. </BLOCKQUOTE> Fortunately my piano doesn't have the same power demands -- although it's quite powerful.  How does one alter the capo bar, anyway?  Is it a matter of grinding off the old one, grinding a new bar, and affixing it with epoxy?  This would be a job for long in the future, if ever, but I would like to keep this remedy on my wish list. <BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">I was curious since Wissners are varitible clones if yours had this feature? Also ,not having had the pleasure of seeing any of these pianos here on the west coast , does it really sound like a S&S D or close? </BLOCKQUOTE> Off hand, I would say "yes."  Bear in mind that my piano has a lot of problems that have not yet been addressed, but it has a very promising sound to it -- very rich and full, and yes, very powerful.  If you ever come through Columbus, OH, I'd be happy to show it to you.   My Wissner originally had a Nickel action, and I suspect there are some scaling differences.  I have quite a number of wound trichords in the bass, for instance (7 single, 4 double, 9 triple), and the breaks might be positioned slightly differently -- 20/21, 51/52, 68/69.  The frame piece to which the capo bar is attached (forget the terminology) extends all the way to the bass (sans the capo bearing points below the treble, of course).  I don't know if the vintage D's also had this feature.  As far as I can tell, everything else is very much like a D.  Let's just say it's similar enough that an unscrupulous technician was interested in purchasing the piano to restore it and sell it as a counterfeit D, complete with Steinway decals, removal of the cast "Wissner" logo on the plate, etc.  Fortunately I came along and rescued it before that could happen.  <wink> <BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px"> I wonder if Wissner was sued or bought out. </BLOCKQUOTE> I have heard very little about Wissner's history.  I suspect Otto Wissner was very much a one-man show and was probably therefore a terrible businessman.  It comes across in an earlier catalog of his that I have.  He was also apparently preoccupied with building in quality that his customers may not have even needed or wanted -- e.g. tropicalization.  I don't get the impression he would be the sort who could be bought out, for instance by the American Piano Company.  It's not difficult for me to imagine how his business perished.  Again, I don't have much in the way of facts.  It's just a "feeling" I have about the man.   It is my understanding that Wissner and Steinway had a very good relationship.  Wissner once worked in the Steinway plant, studying Steinway's manufacturing practices, and then with Steinway's blessings he opened his own factory down the road.  I have heard, but don't know if it's true, that Wissner and Steinway might even have manufactured some parts for each other.  Wissner wasn't capable of turning a tiny fraction of Steinway's volume, so I don't think he was of particular concern to Steinway.  He of course also didn't have the name.   Thanks for the feedback regarding the vintage D.  Please let me know how the replacement capo works out!   Peace, Sarah </BLOCKQUOTE> </HTML>