Thanks, Richard, that's the clearest description of procedure and tooling I've seen on this topic. P In a message dated 2/8/2010 2:58:42 P.M. Central Standard Time, reggaepass at aol.com writes: List, In response to Ed's query, this just in from someone (Richard Davenport) who routinely services Faziolis. Alan E. -----Original Message----- From: _rdpt at aol.com_ (mailto:rdpt at aol.com) To: _reggaepass at aol.com_ (mailto:reggaepass at aol.com) Sent: Mon, Feb 8, 2010 8:05 am Subject: Re: [CAUT] Advice for achieving stability sooner? They tune them accurately at the factory with a tapered (wide dual-tapered point with a string notch in the tip 3/4" Delrin rod plastic rod). Each aliquot is placed in exactly the correct position on the stainless steel plate behind the bridge. If you look carefully, you can see a thin line scribed into the plate on the bridge side of the aliquot. Normally, they don't need any attention. If you need to tune them, pull the speaking length sharp enough to move the duplex length slightly sharp. The amount of overpull will vary with the string length. Longer strings require more overpull. Instead of the factory tool which doesn't work very well, I use my standard 1/4" brass rod with a dual tapered tip and hack saw cut string notch on the business end. If you go a little flatter than you want, you can stroke the string in the speaking length close to the bridge and it will go up again. The thing to remember is that the total tension of the string hasn't changed when you flatten the duplex. It's just redistributed. Be sure to tune each unison after tuning the duplex, or all your work will change very quickly. If you tune too far below pitch, the duplex will go flat. It's a balancing act that requires good hammer technique. Tuning Fazioli aliquots requires lots of patience and practice. I use two PRCTs; one set for the speaking pitch and one for the duplex pitch. Obviously you lock the displays and manually advance each machine. Hope this helps. RD -----Original Message----- From: _reggaepass at aol.com_ (mailto:reggaepass at aol.com) To: _RDPT at aol.com_ (mailto:RDPT at aol.com) Sent: Mon, Feb 8, 2010 3:56 am Subject: Fwd: [CAUT] Advice for achieving stability sooner? Sir: Can you offer any insight about tuning the Fazioli back length? Thanks, ae -----Original Message----- From: Ed Sutton <_ed440 at mindspring.com_ (mailto:ed440 at mindspring.com) > To: _caut at ptg.org_ (mailto:caut at ptg.org) Sent: Sun, Feb 7, 2010 8:04 pm Subject: Re: [CAUT] Advice for achieving stability sooner? The Fazioli tuning technique involves an intentional overpull to raise the pitch of the back length in order to tune it as an aliquot of the speaking length. Someone who regularly tunes Fazioli pianos should be able to give an experienced answer as to how much overpull is necessary to raise the pitch of the back length. This would give an empirically valid answer to this question for Fazioli pianos, at least. Ed Sutton ----- Original Message ----- From: _PAULREVENKOJONES at aol.com_ (mailto:PAULREVENKOJONES at aol.com) To: _caut at ptg.org_ (mailto:caut at ptg.org) Sent: Sunday, February 07, 2010 10:40 PM Subject: Re: [CAUT] Advice for achieving stability sooner? In a message dated 2/7/2010 9:36:45 P.M. Central Standard Time, _a440a at aol.com_ (mailto:a440a at aol.com) writes: Greetings, I wrote: >>I would think that a 40 cent raise would be pulling new wire around the bridge pins,(especially in a new piano that has sat for a year at that low pitch). Paul writes: This may or may not be true. Jim Ellis suggests through his demonstrated research that strings don't begin to render on the bridge top unless more than 50 cents is added to the pitch. 40 or 50 in this case might make no difference. Just a thought. I can see the logic of the above inre a stable piano that is near pitch, but consider that the starting pitch will determine how much tension must be added to move the slack out of the backstring into the speaking length: to wit, (since I am already half way there...), the looser the string, the less tension is required to overcome the friction of the bridge and bridge pins. Once the string is at pitch, you almost have to break the string before the pitch of the backstring changes with added tension from the tuning pin. On a new piano, the backstring just might have a fair amount of slack in it from the bend at the hitch pin resolving itself during the first year. If Diane is bringing up strings 40 cents, I would expect there to be some measurable pitch change in the back string. Easy to measure on the grands with the rear duplex. Maybe less so on the uprights, as they usually seem to have much shorter backstrings. Regards, Ed Foote RPT _http://www.uk-piano.org/edfoote/index.html_ (http://www.uk-piano.org/edfoote/index.html) Ed: I totally agree with everything you say. The only difference I can see that would be germane would be the over-pitch pull as an additional tension which would probably overcome the "limit" that Ellis describes. Thanks, Paul -------------- next part -------------- An HTML attachment was scrubbed... URL: <http://ptg.org/pipermail/caut.php/attachments/20100208/9f736cf6/attachment-0001.htm>
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