[CAUT] left to right or R to L?

[Douglas Wood]

I'm guessing that this is more of an issue with a new soundboard,  
before the dead-load deflection it takes on after being loaded for a  
couple of years. I've only done a few handfuls of restringing jobs,  
and none on new boards. So I have not encountered this bridge  
clearance issue in a way that had me thinking of needing to load the  
board. (Maybe I've just been either lucky or oblivious...) Because of  
that, and the assurances I've seen several credible places about the  
plate strength, I just start in the tenor and work to 88.

I don't see how the order of stringing would end up in a different  
place when the piano is all tuned up, even with a new and fully- 
reactive board, but if any of you have info to the contrary, I'd sure  
like to hear it!

Doug Wood


On Nov 12, 2008, at 11:36 AM, Ron Nossaman wrote:

>
>
>> Can someone please explain why this "stresses the soundboard  
>> properly."
>> If I am improperly stressing soundboards, I would like to correct  
>> my ways.
>> Thank you.
>> Ed Sutton
>
> I presume the working clearance mentioned is where the bridge goes  
> under the strut, with the pins contacting the bottom of the strut  
> so you can't get a string in between. A little load on the bridge  
> flattens the board enough to get the wire on the bridge pins there.  
> I string from the treble down, a section at a time, just getting  
> the wire on and the pins in with no tension on the strings. Then I  
> pick up the tuning hammer and from the bottom up, pull the coils up  
> with a string hook as I pull them up to tension. Then I level pins,  
> squeeze beckets, tap coils, rough in a bearing adjustment if I have  
> vertical hitches, pull the section up to near pitch again, move the  
> jack, and start the next section. Usually, the cumulative bearing  
> will be enough to get clearance under the strut for that  
> troublesome unison. If not, I string up to it, treat it like a  
> section break, and do the above routine. That pretty much always  
> gets me enough clearance to proceed.
>
> Same dragon, different approach.
> Ron N
>

Doug Wood
School of Music
University of Washington

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