Avery Todd wrote: > Since treble then bass *is* rather obvious, :-) don't you think John might > have been referring to whether to start stringing in the tenor or the treble? Actually Avery, I think he was referring to pulling the tension up in a manor that is not likely to place undue stress on the plate and thus, break it (like the scenario Warren found himself in a short while ago.) OK, now that I've put words in John's mouth, I'll address the issue. As I said originally - support the pin block. Driving pins unsupported will virtually guarantee damage to the pin block, and probably the plate. That said again, I would suggest starting at the treble and working left if you are right handed. Start at the tenor and work right if you are left handed. This assumes that a righty holds the pin/driving tool with his left hand and the maul with his right, vice-versa for a lefty. This keeps your hand that contacts the plate resting on flat iron rather than tuning pins. Also, it's easier to keep the wire straight in areas with no agraffes. Initially, pull all wires up to about an octave low. This is enough to keep the coils tight and the strings in line with everything, but not enough to stress the plate. It seems obvious, but like everybody else said, string the tenor/treble first before you put on the bass section. Before you put any real tension on the strings, make sure all the plate bolts, nose bolts and pin block bolts are tight. The object is to leave the plate in the piano in one piece. After all strings are on and its time to chip tune - well, this is the area where we all do it differently. If its about an octave low across the instrument, I usually start at the temperament, tuning the middle strings only, and bring each center string up to pitch. I don't over-pull like a pitch raise, just up to pitch the first time. Set the temperament (center string only), tune down to bottom of tenor and up to top of treble (center string only). Go to the bass and tune 1 string of each bi-chord, and the mono-chords. Then back to the tenor/treble, pulling up only one (I start with the left) string of each tri-chord. Then to bass, pulling up the remaining bi-chords. Fianlly back to tenor/treble pulling up the remaining string of the unison. By now, you'll probably be about a whole step low or more. Do it again until you're within a half step across the piano. When you're within a half step, treat it as any other half step pitch raise. When its at pitch, you can then level the strings and mate the hammers to the strings. (What do you get when you mate a hammer and a string?) Then you tune, tune, tune. DISCLAIMER: This is not presented as "the Right Way" - it is, however, "My Way." I have never broken a plate, cracked a sound board or rolled a bridge off the board using this method. However, when I get through with lunch and go back out to the shop, this afternoon could be the first! I welcome all suggestions, comments, corrections and criticisms from everyone else. Final note: EYE PROTECTION and EAR PROTECTION is REQUIRED ! ! ! ! ! ! Danny Moore http://www.setexas.com/danmoore/
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