<HTML><BODY BGCOLOR="#ffffff" STYLE="font:10pt verdana; border:none;b=
ackground-color:#ffffff; "><DIV> </DIV> <DIV> </DIV> <DIV> =
;</DIV> <DIV> </DIV> <DIV> </DIV> <DIV> </DIV> <BLOCKQUOTE=
style="PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER=
-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px"> <BLOCKQUOTE style="PADDIN=
G-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #000000 2=
px solid; MARGIN-RIGHT: 0px"> <DIV> Hey Terry How did it sound?Just =
curious.</DIV> <DIV> Dale Erwin</DIV> <DIV> </DIV> <DIV>=
</DIV> <DIV><FONT face=Arial size=3>You say "that the board was=
a reverse crowned board with a positive set downbearing". Do you know if=
this configuration was the intent of the designer & manufacturer? Ju=
st curious. I have seen new Steinways with this board/bridge configu=
ration, but as far as I know, it was a manufacturing anomaly.</FONT></DIV=
> <DIV><FONT face=Arial size=3></FONT> </DIV> <DIV><FONT face==
Arial size=3>Terry Farrell</FONT> <SPAN id=__#Ath#SignaturePos__=
></SPAN> </DIV> <BLOCKQUOTE dir=ltr style="PADDING-RIGHT: 0px; P=
ADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #000000 2px solid; MARGI=
N-RIGHT: 0px"> <DIV style="FONT: 10pt arial"> </DIV> <DIV style==
"BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: black"><B>From:</B> <=
A title=erwinpiano@msn.com href="mailto:erwinpiano@msn.com">DALE ERWI=
N</A> </DIV> <DIV style="FONT: 10pt arial"><B>To:</B> <A title=pianot=
ech@ptg.org href="mailto:pianotech@ptg.org">pianotech</A> </DIV> <DIV s=
tyle="FONT: 10pt arial"><B>Sent:</B> Sunday, November 18, 2001 9:48 AM<=
/DIV> <DIV style="FONT: 10pt arial"><B>Subject:</B> Re: Hamlet Davis br=
idge agraffes/ Reverse crown Steck</DIV> <DIV><BR></DIV> <DIV>Tom and lis=
t</DIV> <DIV> </DIV> <DIV> You know I have been fo=
llowing this thread and it is interesting to me how many makers tried out=
this idea. I rebuilt a George Steck 6 ft. grand last year with this arra=
ngement. When I first encountered the piano the sound was absolutely magi=
c. The sustain just floated for what seemed like forever . The more inter=
esting thing was that the board was a reverse crowned board with a positi=
ve set downbearing. I mean bearing set pressing in the usual direction.</=
DIV> <DIV> A bit more time consuming to string but what a gem=
. I keep finding all kinds of sound board conditions and configurations w=
hich aren't supposed to work that do and others that should that don't!&n=
bsp;</DIV> <DIV> I have to figure that the weight of the Big =
Brass agraffes also contributed to the impedance properties of the board =
probably a sustain enhancing dynamic.</DIV> <DIV> </DIV> <DIV> =
Ain't life interestin---Dale Erwin----- --=
---</DIV> <BLOCKQUOTE style="PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MAR=
GIN-LEFT: 5px; BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px"> <DIV s=
tyle="BACKGROUND: #e4e4e4; FONT: 10pt Arial; COLOR: black"><B>From:</B>=
Tom Driscoll<B>Sent:</B> Sunday, November 18, 2001 6:28 AM</DIV> <DIV st=
yle="FONT: 10pt Arial"><B>To:</B> pianotech@ptg.org</DIV> <DIV style==
"FONT: 10pt Arial"><B>Subject:</B> Hallet Davis bridge agraffes</DIV> <DI=
V> </DIV>Enclosed photo of Hallet Davis Grand referenced by Ph=
il Ford in recent<BR>discussion of bridge agraffes. Piano was built in 18=
90's and bridge system<BR>is still in good condition. Photo c=
ourtesy of Moody Piano in Marlboro Ma.<BR> Tom Driscoll=
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