brightness of Steinways

[philromano@attglobal.net]

Newton,

I have to tell you, I find myself saving and printing out more and more of
your posts to the lists. Not only for their value pertaining to piano work
but also for the wit and pure enjoyment I get out of reading them. I also
use your guide regularly to get an idea of how long it should take me to do
a job (not necessarily how long it actually takes!) I want to thank you for
all you've done for us less than knowledgeable techs. I hope I can repay the
industry as well some day.

Phil Romano
Myrtle Beach, SC

----- Original Message -----
From: "Newton Hunt" <nhunt@optonline.net>
To: <pianotech@ptg.org>
Sent: Friday, February 16, 2001 8:32 AM
Subject: Re: brightness of Steinways


> > how can you precisely determine if it is the strings which are not
> > aligned or if it is the hammer which is not square to the strings
>
> First the action must be properly located in the case.  This is done
> by working at the top of the middle section where the agraffes define
> string location and the strings are perpendicular to the stretcher.
> Make certain the hammer shanks are perpendicular to the hammer flange
> rail, the wippens are perpendicular to their flange rail and that they
> are perfectly vertical and the shanks lie parallel to the wippens.
> Make certain the hammers are traveled, spaced and burned as best they
> can be THEN you can adjust the action stop block so those hammers
> align just nicely to their strings.
>
> The shanks must be spaced and traveled so they go from rest to the
> string in as perfectly a vertical line as possible.
>
> The hammer has to be as perfectly vertical as it can be so the mass of
> the hammer is centered over the center line of the shank.  If this is
> not the case then by using heat the shank can be warped to make it so.
>
> Then the strike point of the hammer must be filed perpendicular to the
> sides of the hammer.
>
> Then the strings can be leveled to match the hammers.  Then check the
> shift position and make any compromises needed to make them both work
> best.
>
> Bear in mind that if this is done right and well it can take half a
> day to make it right.  This is THE most time intensive process of
> regulating an action.  It is also the foundation of the entire
> regulation.  If it is not done properly the regulation will not follow
> through well.
>
> Space travel space burn space travel space burn space ... until all
> your hair is gone.
>
> This is the least fun but ultimately the most rewarding aspect of
> regulation and voicing.
>
> It is most interesting that doing this well will solve 99% of your
> voicing problems.
>
> Leveling strings is like pitch raising.  You lift, tune, lift, tune,
> lift tune until your scalp has gone with your hair.
>
> Then you may need to do some final damper adjustments.
>
> There is no end to this.  Is it any wonder that we are all nuts?
>
> If you have specific questions about any operation and techniques just
> write.
>
> Newton