Pinning and Tone

[Fred Sturm]

--On Tuesday, October 28, 2003 6:04 AM -0500 A440A@aol.com wrote:
>
>       I also was impressed with that idea, until Bill Garlick informed
> that  after the long strips were sliced into individual units, they were
> placed in  bins.  That meant that shanks from one "set" would be mixed
> with another and the  practical result was that any given 88 shanks may
> have come from several  different beginnings.  It seems that the concept
> of consistancy wasn't in place  for this operation. That is why it is
> necessary to indivually set the jacks to  the knuckles,(the same mixing
> up occurred with the whippens, also.  Regards,
> Ed Foote RPT
> http://www.uk-piano.org/edfoote/index.html
> www.uk-piano.org/edfoote/well_tempered_piano.html
>  <A
> HREF="http://artists.mp3s.com/artists/399/six_degrees_of_tonality.html">
> MP3.com: Six Degrees of Tonality</A>

	Yes, that certainly occurred to me. But considering the accuracy of the 
jigs they are using, the consistency from set to set is quite high. And 
compared to installing individual knuckles on individual shanks, there is 
far less room for variance. The proof is in the pudding. Setting jacks to 
knuckles on a raw factory piano, I found I could have just used a straight 
edge, or followed the machining marks on the wipps (that is, used them 
consistently as guides) and come out the same. If there was variance, I 
couldn't see it. Far different from earlier experience.
Regards,
Fred Sturm
University of New Mexico