Hey Now, To David, Dale and all the list. Is this procedure/phenomenom only present on Steinways? Thanks in advance. Stuck in Yamaha M500 land...it could be worse I could have wurlitzers with separated pin blocks :-). Just kidding I have my fair share of nice Grands, and a few Steinways too. Steve OC CA. Pura Vida > [Original Message] > From: David Love <davidlovepianos at comcast.net> > To: Pianotech List <pianotech at ptg.org> > Date: 7/25/2007 12:00:25 AM > Subject: Finding the strike line another method > > > Another example of modified strike line in a Steinway B c1983. My method is > somewhat like Dale's except when I have the entire piano in the shop. When > I suspect there is a problem I hang all the hammers in the tenor and the > upper treble section at 130 mm leaving the lower capo section unhung. Most > problems in Steinway's are in that section though they can drift into the > upper section as well. It's always a good idea to test strike point > accuracy on the old hammers before you remove them or destring the piano. > Anyway, after finding the proper strike point for C88 I set the blocks or > markings on the keybed and test the lowest note in the upper treble to see > if it is correct. If it is not (in this case it wasn't) I move the action > in or out (out in this case) until I find how far it needs to move. Then I > work my way up the scale until I find the note which doesn't need to be > moved. In this case C7 was fine but F6 need to come in to 127 mm and the > notes between C7 and F6 progressed uniformly. I made a mark on the key > indicating a 3 mm move was necessary on F6 and C7 was ok. Next I hung > samples at the end of the lower capo section (C5 and E6) and on G5 and C6 so > that the samples are fairly evenly spaced through the section. I secure the > hammers with only a tiny spot of glue on the top of the shank and don't spin > the hammer as I slide it on. That makes it very easy to remove but holds it > in place so you can test for tone without the hammer rotating on you. By > moving the action in and out I found that the 127 mm hanging at F6 needed to > be continued at E6 and move in to 126 mm at C6. G5 needed to be moved in > only to 128 mm. C5 was perfectly happy at 130 mm. I made marks on the keys > to indicate the extent of the move for my samples. I then removed the > action from the piano and rehung my samples at the appropriate distance. > Then I removed and rehung the hammers in the upper capo that needed to be > moved to form a straight line between C7 and F6 after which I hung the rest > of the hammers in the lower capo section. I prefer this method when you > have the piano in the shop rather than hang the entire section and then move > all the hammers that need moving. By sampling you can get a good indication > of the extent of the curve modification without hanging, removing and then > rehanging the entire section. When you have only the action in the shop, it > is probably better to hang the entire section and then figure on moving once > you get back to the piano. A simple flat tray, a straight edge, a heat gun, > hammer removing pliers and reamer are all you really need to do the job > quickly on site. Hanging the hammers with Titebond trim glue to begin with > will allow you to duplicate the glue collar without resorting to heating up > a pot of hide glue (does anyone still use that stuff:-)). It's a hassle, > but worth the trouble when you hear a smoother tonal transition through the > capo section. > > David Love > davidlovepianos at comcast.net > www.davidlovepianos.com
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