<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN"> <HTML><HEAD> <META http-equiv=Content-Type content="text/html; = charset=iso-8859-1"> <META content="MSHTML 5.50.4522.1800" name=GENERATOR> <STYLE></STYLE> </HEAD> <BODY bgColor=#ffffff> <DIV>Bill said in resonse to my post:</DIV> <DIV> </DIV> <DIV>"Take a look at the hammers, are there deep grooves?   If = so, tell the customer that the reason for the breakage is metal fatigue that = can be mitigated be filing the hammers.  I have a few situations in my = clientele where this has come up recently. <BR><BR>By asking about it on this = List, there was an important point I remember, made by Newton Hunt.  That is, = metal fatigue is *not* reversible.  So, once this process has begun, = actions you may take such as filing the hammers will not cure the problem, the best = they can do is cut down on the major factor which is causing the strings to = break."</DIV> <DIV> </DIV> <DIV><FONT lang=0 face=Arial color=#000000 = FAMILY="SANSSERIF">How would hammer filing reduce the abuse to bass strings?</FONT></DIV> <DIV><FONT lang=0 face=Arial color=#000000 FAMILY="SANSSERIF"></FONT> </DIV> <DIV><FONT lang=0 face=Arial color=#000000 = FAMILY="SANSSERIF">Terry Farrell</DIV> <DIV><BR><BR></DIV></FONT> <DIV> <SPAN id=__#Ath#SignaturePos__></SPAN> </DIV> <BLOCKQUOTE style="PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; = BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px"> <DIV style="FONT: 10pt arial"><FONT size=3>----- Original Message = ----- </FONT></DIV> <DIV style="BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: = black"><B>From:</B> <A title=Billbrpt@AOL.COM = href="mailto:Billbrpt@AOL.COM">Billbrpt@AOL.COM</A> </DIV> <DIV style="FONT: 10pt arial"><B>To:</B> <A = title=pianotech@ptg.org href="mailto:pianotech@ptg.org">pianotech@ptg.org</A> </DIV> <DIV style="FONT: 10pt arial"><B>Sent:</B> Sunday, December 23, 2001 = 11:20 AM</DIV> <DIV style="FONT: 10pt arial"><B>Subject:</B> Re: Bass String = Splice</DIV> <DIV><BR></DIV><FONT face=arial,helvetica><FONT size=2>In a = message dated 12/23/01 8:12:47 AM Central Standard Time, <A href="mailto:mfarrel2@tampabay.rr.com">mfarrel2@tampabay.rr.com</A> = (Farrell) writes: <BR><BR><BR> <BLOCKQUOTE style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #0000ff 2px = solid; MARGIN-RIGHT: 0px" TYPE="CITE">When a bass string breaks just above the winding end on = a low-end/older <BR>piano (like within a half-inch or so), what do you = do regarding the splice <BR>decision? New string? Unwrap some of the = winding and splice? Clearly, better <BR>piano, more demanding client, gets = new string. But what about the "just fix <BR>it for as little as = possible" situation? <BR></BLOCKQUOTE></FONT><FONT lang=0 face=Arial = color=#000000 size=3 FAMILY="SANSSERIF"><BR></FONT><FONT lang=0 face=Arial = color=#000000 size=2 FAMILY="SANSSERIF">This situation often means that the = player plays very heavily, regardless of the kind of music.  A glance around = may tell you what kind of music is played, if not, ask.  If it's = classical, you'll see many books of advanced literature, mostly Romantic.  If the = player plays Rock & Roll, Boogie Woogy, Jazz or Gospel, the damper pedal = may also need maintenance.  These kind of players often use it as their = "Bass Drum".  In a particular style of Jazz that comes from New = Orleans, this is the norm. <BR><BR>Once you have one string gone, there may easily = be more.  One may break within a short period of time after you have made = a repair or replacement.  You may easily be blamed for it and the customer = will probably think it is the one you already repaired or replaced. =  Indeed, the one *next* to the one that broke may be the next one to break = because until the unison was restored, the single remaining string took all of = the force. <BR><BR>Take a look at the hammers, are there deep grooves?   If so, tell the customer that the reason for the breakage = is metal fatigue that can be mitigated be filing the hammers.  I have a = few situations in my clientele where this has come up recently. <BR><BR>By = asking about it on this List, there was an important point I remember, made = by Newton Hunt.  That is, metal fatigue is *not* reversible.  So, once = this process has begun, actions you may take such as filing the hammers = will not cure the problem, the best they can do is cut down on the major factor = which is causing the strings to break.</FONT><FONT lang=0 face=Arial = color=#000000 size=3 FAMILY="SANSSERIF"> <BR><BR>As for the splicing, yes, you = are correct in peeling off a bit of the winding to give you the space you need to = make the splice.  There is a serendipitous side effect to doing this, = however:  Peeling off some of the winding (let's say, 3/16") increases the = inharmonicity of the string.  Tying a knot in the speaking length = decreases it.  If you are lucky, the two will cancel each other = out.  Otherwise, your spliced string will create an irresolvable = tuning problem known as a "snarl".  The mismatched inharmonicity of the = two strings makes tuning them as a unison practically impossible. =  The worst problem also with so-called "Universal" String replacements is that = the *Inharmonicity* will not match. <BR><BR>Sometimes, you can just let = the spliced string be there as a permanent repair.  If you do the = splice well, you will take pride in your craftsmanship each time you see it = there and witness that the unison is functioning normally.  If the piano is = modern and under production, particularly if under warranty, you should order = a new string and leave the splice as a temporary repair. <BR><BR>By the way, = I don't bother with Universal Strings for the reasons you cite.  I would = admit that any in many cases, you could get a Universal String to work, but = I don't consider that to always have a complete set available is worth the = trouble.  I either splice or order a new replacement. <BR><BR>If I want to = order a replacement for a string I am replacing and the dimensions are not = known, I measure the adjacent string carefully and supply the figures to the = string winder.  In most cases, you'll have to insert an offset figure = into measurements of an adjacent string:  the Hitchpin to start of = winding will be different but the core diameter, outside diameter, and winding = length will be identical.  Make measurements carefully! <BR><BR>For = these individual replacement strings, I always use Schaff piano supply = because the company is nearby and because their product is always well made. =  If I need a replacement made by measured dimensions, I just call them from = my cellphone and ask for the String Winding Department.  If the = piano scale design is well known and they have it on file, I can get a replacement = within a day or two that ranges from satisfactory to perfect.  I can't = recall a single time in more than 25 years that I was ever disappointed with a replacement string from them unless it was *my* error in ordering. <BR><BR>Lastly, don't expect a spliced or replaced string to stay in = tune.  Tune a spliced string 10 cents (a gentle beat aurally) sharp and = explain that it will go flat of it's own accord.  It may settle to a = point where it does not disturb the customer.  Either make an appointment to = retune it in 2 weeks or tell the customer to call you after two weeks if it = is still not satisfactory. <BR><BR>For a replaced wound string, make sure you = do all of the things that will release the unsettled points which will cause the = string to go flat.  Pull it up to pitch and beyond by 25 cents (a rapid, = sour sounding beat, aurally), tap the coil, squeeze the beckett, (close the = gap), tap down the loop at the other end and at the bridge points (lightly, = don't use heavy force that may damage the bridge), apply a few stretching = techniques such as pressing on the string, making sure not damage or mar it, then = tune the string up to +25 cents (or a rapid beat aurally). <BR><BR>You can = leave a mute to temporarily silence the sharpened string.  This is a = particularly good idea if you will return in a short period of time. =  Sometimes, you may have a customer who is aware enough to remove the mute after a = short period of time and can call you if retuning the unison is necessary. =  In a few cases, you'll have a customer who has a tuning hammer and a mute = and can maintain that unison but is not capable of tuning the whole piano. =  I encourage the customer, in that circumstance, to do whatever is = possible.  (You know you'll be back when there is some work that is = worthwhile). <BR><BR>Regards, <BR><BR></FONT><FONT lang=0 face=Arial = color=#000000 size=2 FAMILY="SANSSERIF">Bill Bremmer RPT <BR>Madison, Wisconsin <BR><A href="http://www.billbremmer.com/">Click here: -=w w w . b i l l b = r e m m e r . c o m =-</A> </FONT></FONT></BLOCKQUOTE></BODY></HTML>