string seating

[Joseph Alkana]

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List,
About the only time seating strings seems effective IMHO is on those =
pianos that have not experienced what I like to call "wire =
conformation".The perfect example is on a new or newly restrung piano. =
(Assuming no bridge problems, i.e., loose pins or already dented bridge =
caps.) Surely the lack of a good bend on the wire around the pin is as =
much a part of the equation as those that think seasonal movement of the =
bridge produces a change in the wire to bridge contact area.
Having done my stint at local dealerships for the past ten years, I =
really believe that most of the instruments, from a variety of =
manufacturers, need some type of massaging of the wire at the bridge =
pins. I can see it, and I can certainly hear the differences of before =
and after application of seating techniques. Like I said, only those =
instruments that exhibit no other problems are ever going to respond =
satisfactorily, however.=20

This week I kept track of all of the pianos I serviced for false beating =
in the treble. I find it amazingly calming to diagnose the offending =
pianos' problems and try and come up with either a plan of action or at =
least an understanding of what remedies will realistically improve them =
or not as the case may be.=20

FWIW here's my findings:
Kawai older KG-3 grand --no improvement after seating. Pulled off one =
string and found severe cut in bridge top. No chance of fix today.

Yamaha P22 -- Had No dealer prep. Improved dramatically after light tap =
with brass rod,  with no false beating evident.Wire very obviously moves =
when tapping.

Steinway B -- Hit and miss work over five years. No improvement by =
seating with brass rod by tapping or sliding along wire. Did make =
significant improvement pulling wire into bridge pin and eliminating a =
large radius bend in the wire.=20

Farrand upright -- Last three octaves every wire was beating. Most of =
the problem was loose bridge pins. I'm going to let down tension, remove =
wire and super glue 'em. I'll let you know what happens.

Yamaha C3 -- newer, evidence of some prepping, but several false beating =
wires in high treble. Only improved one note after seating efforts. Did =
not check bridge top.

Kohler & Campbell SKV 48 -- Three years old. Tapping wires produced fair =
results, but my opinion is the cap is very soft, allowing bridge pins to =
move. Afraid I would dent this cap if seating were done too =
aggressively.

A.B. Chase 5'3"  1927. Zero false beats. Clear tone all the way to top. =
Absolutely amazing. Bridge looks like very hard old wood. Difficult to =
even see the grain patterns. Hmmmmmmm, are we missing something here?

Joseph Alkana


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