Finding the strike line another method

[PAULREVENKOJONES]

I found this to be necessary on a Boesendorfer 200 several years ago, along with a bore angle in the bass and tenor that nearly matched the string angle. Also, then a Bechstein C which needed altered bore lengths as well as the rake in the last octave. It's all over the place it you look.

Paul

"If you want to know the truth, stop having opinions" (Chinese fortune cookie)


In a message dated 07/26/07 22:20:06 Central Daylight Time, davidlovepianos at comcast.net writes:
Varied hanging distances off the shank center are certainly not a phenomenon 
present on only Steinways.  The curved line I haven't seen much on other 
pianos but I hung a set of hammers on a Boesendorfer recently that required 
gradually increasing the distance through the last capo section.  Always 
good to test the strike point when possible before you remove the old 
hammers.  You can save a lot of work by making notations from the existing 
hammers. 

David Love 
davidlovepianos at comcast.net 
www.davidlovepianos.com 

-----Original Message----- 
From: pianotech-bounces at ptg.org [mailto:pianotech-bounces at ptg.org] On Behalf 
Of Steve Blasyak 
Sent: Thursday, July 26, 2007 10:45 AM 
To: Pianotech List 
Subject: RE: Finding the strike line another method 

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   
-------------- next part --------------
An HTML attachment was scrubbed...
URL: https://www.moypiano.com/ptg/pianotech.php/attachments/20070727/b210e3b6/attachment-0001.html