[CAUT] Piano Cuneiform

[McCoy, Alan]

The speed he was working at would not work well with that idea. I have done it that way lots and I have changed to his system because it is much faster and unambiguous. It always points in the direction that needs attention. To do it the way you describe takes too much time to line up the mark with one side or the other of the key.

He got a helluva lot done in one day all while being peppered with questions. It really makes me think how much I could get done around here if I take on the inventory with that mindset - one day to make as much positive change with each piano as I can make.

Alan


From: David Ilvedson <ilvey at sbcglobal.net>
Reply-To: David Ilvedson <ilvey at sbcglobal.net>, CAUTlist <caut at ptg.org>
Date: Fri, 19 Mar 2010 11:34:46 -0700
To: CAUTlist <caut at ptg.org>
Subject: Re: [CAUT] Piano Cuneiform

Interesting, but if you look at his III for strings...why not just take that and break it up as needed?   You've got the imagined left and right side of the key directly below the upstop rail.   As long as you make it fit with in that box and not run into the next key it would be simpler...?

I      left string
II     left and middle
III    all strings
 II    middle and right
  I    right string

That's what I use anyway...

And it is interesting he isn't fitting hammer/strings before voicing...?


David Ilvedson, RPT
Pacifica, CA  94044

----- Original message ----------------------------------------
From: "McCoy, Alan" <amccoy at ewu.edu>
To: caut at ptg.org
Received: 3/18/2010 10:02:32 AM
Subject: Re: [CAUT] Piano Cuneiform


>Here are most of his markings. Really quick, very easy and intuitive. He has already
>done whatever low shoulder voicing for volume and body (what he calls "texture")
>that he is going to do. So he uses these marks to indicate string-by-string where the
>stringy, pingy strings are for high shoulder needling (almost on the strike point) with
>his 5-needle voicer. He moves fast as he works with the felt mute to isolate strings
>for pings. As I watched and listened he skipped over some notes that at first
>sounded to me like they needed work, but on further listening these were notes that
>were hammer/string fitting problems rather than pingy, metallic problems. He didn't
>make any marks for these fitting problems because he knew he'd take care of them
>later.

>Alan


>-- Alan McCoy, RPT
>Eastern Washington University
>amccoy at ewu.edu
>509-359-4627 (message Pacific time)
>509-999-9512 (cell Pacific time)


>________________________________
>From: David Stocker <firtreepiano at hotmail.com>
>Reply-To: CAUTlist <caut at ptg.org>
>Date: Tue, 16 Mar 2010 09:46:15 -0700
>To: CAUTlist <caut at ptg.org>
>Subject: [CAUT] Piano Cuniform

>One of the first things Ulrich did after pulling the action and placing it atop another
>piano (covered) was to take off the keystop rail, and sand the top of it. He said
>something about liking everything to look clean. At that moment it seemed extreme,
>but it turned out that was exactly where he made all of these marks. At the end of
>every pass of voicing, he would run his first finger and thumb over the keystop rail
>to erase all of the markings. Because he had made it smooth, it came clean easily.

>I think he made marks on the front of the rail to denote needling lower on the
>hammer, towards the top for higher up on the shoulder.

>David Stocker, RPT
>Tumwater, WA



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