CA and Bridge Pins

[Richard Brekne]

Hi Joe.., sorry to not get back to you on this sooner...grin... got wrapped up
in playing with words and viewing points with Terry on another thread...

The point of my origional posting was really whether or not there was anything
to be gained by leaving the string tension up so as to keep sideways pressure on
the pins while applying this. The thought struck me that it might be benificial
to soak as much of this CA into the space created by this tension.

Course I dont know whether this is nonsense or not... probably one of those
unknowables.. but it was no problem to get rid of any excess that worked its way
under the strings and down the notch, and the result was simply astounding. This
old Bechstein was nearly impossible to tune because of all the falsness. I had
tried reshaping the hammers earlier with virtually no change despite very worn
hammer felt. Now its about as clean as a whistle.. a bit of falsness here and
there probably related to aggraffees... maybe something else cant be sure yet.
No one would touch this thing up to a week ago.. now its in full use by students
and teachers and everyone is pleased pink at the "new grand" at the school.

I will definately have to get more familiar with the usage of CA in this
connection.

Joe & Penny Goss wrote:

> Hi Richard,
> I have never tried CA on a Grandfor fear that the glue would  run all over
> the bridge where it was not needed.
> I have done at least 50 uprights with the thinnest. All of them when doing
> the tuning pins.
> After treating the tuning pins, with the piano laying flat on my tilter, I
> raise the piano to about 45% and treat all the bridge pins that the bass
> strings do not cover. These are old beaters so far and no guarentee is given
> as to the results. But so far a BIG improvement in each instrument False
> beats almost eliminated making them far more tunable.
> Joe Goss

--
Richard Brekne
RPT, N.P.T.F.
Bergen, Norway