Don't forget the bichord damper felts! :-) Avery Todd At 03:13 PM 3/9/2006, you wrote: >David, > >Thanks, I will add it to my list of terms. > >William > > > > >PIANO BOUTIQUE >William Benjamin >Piano Tuner Extraordinaire ><http://www.pianoboutique.biz>www.pianoboutique.biz >The tuner alone, >preserves the tone. > > >---------- >From: pianotech-bounces at ptg.org [mailto:pianotech-bounces at ptg.org] >On Behalf Of David Ilvedson >Sent: Thursday, March 09, 2006 3:48 PM >To: pianotech at ptg.org >Subject: RE: Voicing of high bass on Steinway L > >2 string unison... > >David Ilvedson, RPT >Pacifica, California > > > >---------- >Original message >From: "William Benjamin" >To: "Pianotech List" >Received: 3/9/2006 12:18:56 PM >Subject: RE: Voicing of high bass on Steinway L >Dale, > >Maybe it was a typo, but what is a bichords. You have me stumped here. > >William > > > > >PIANO BOUTIQUE >William Benjamin >Piano Tuner Extraordinaire ><http://www.pianoboutique.biz/>www.pianoboutique.biz >The tuner alone, >preserves the tone. > > >---------- >From: pianotech-bounces at ptg.org [mailto:pianotech-bounces at ptg.org] >On Behalf Of Erwinspiano at aol.com >Sent: Wednesday, March 08, 2006 10:42 PM >To: pianotech at ptg.org >Subject: Re: Voicing of high bass on Steinway L > > Hey John > The upper bass register of the Steinway L was once scaled at 70% > of its breaking strength which IMO helped the power a tonal > crossover at the break. Don't know what the current scaling is > except I don't care for the a strings they use. The other problem > IMO is that the tensions on notes 27-28-29 are too low for a good > transition. Replacing them with 3 or 4 unisons of bichords > improves this tremendously. > Also If the bass strings have been replaced, most likely the > string maker did not duplicate this fairly high tension in notes 22 > -26 & I find the lower tensions in this area really make for a > substandard sounding high bass. Arledge is doing in good job in > the tension dept. & will accomadate whatever you wish. > Other makers may or may not do this upon you request. The L > monochords are also a horrible trashy sound as they are short & > single wrapped and lack fundamental. A double wrapped string will > open up the bottom end of the piano considerably. Talk about being > stuck in the past, I mean mud. Oops . JMO coming thru again. > By the way what kind of hammers are we talking about. This is > loads to do with it. > Dale >Hello,, > >I know the Steinway L's high bass section is notorious for being >problematic, but I am looking for advice from someone who has had >success in getting an excellent transition from the B to the Bb - >i.e. retaining the "buzz" from the C28 and B27 through to the Bb26 >and A25 while maintaining a decent tone and moderate attack. > >I almost gave up hope of getting the sound, but just today I heard an >old Steinway L that had the *exact* the tone I was looking for: the >highest notes matched the low tenor extremely well, I was very >surprised just how well. A full tone with some (good) buzz. I'm >fairly certain they were original strings. > >So, I'm assuming there must be someone out there who knows what I'm >talking about and has some advice for voicing the hammer to get this >tone (as best as is possible, at least). For those who are familiar >with that not-so-pleasant sound that is so often in that Bb26 on L's >and sometimes the A25, I figured they may know a general approach to >relieving this sound. > >Thanks! > >- John > > >_______________________________________________ >Pianotech list info: https://www.moypiano.com/resources/#archives -------------- next part -------------- An HTML attachment was scrubbed... URL: https://www.moypiano.com/ptg/pianotech.php/attachments/20060309/f68e2e07/attachment.html
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