Finding the strike line another method

[Frank Emerson]

Many years ago at the Baldwin factory, their engineers discovered that on a
particular grand model, the sustain was improved in the 6th octave, by what
they called an "indenting" the hammer line.  This was incorporated into the
production of this model for decades to follow.  A later generation of
engineers took a second look at the problem, and judged that it would be
better to make changes to the plate to maintain the strike points resulting
from the indented hammer line, but restoring the original straight hammer
line.

Frank Emerson


> [Original Message]
> From: David Love <davidlovepianos at comcast.net>
> To: Pianotech List <pianotech at ptg.org>
> Date: 7/26/2007 11:18:05 PM
> Subject: RE: Finding the strike line another method
>
> 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  
>
>
>
>
>