Greg I agree with your instinct that the flat and wedge may not seat well together. I'd go with all wedges. I have been burned duplicating a poor damper arrangment too many times to think too deeply about it any longer. For instance, I never follow the original layout in the tenor area at the point that trichord wedges are replaced by flat felts. I almost always use trichord wedges up to E4, F4, G4, somewhere around there. Then, I'll go to flat felts. Why? Because time and time again I've found those first few flat felts (say that 10 times! First few flat felts! First few flat felts!) don't dampen as well as they should. I don't know why this would be, assuming that the original flats did dampen correctly. Is the felt different today? The piano wire? Or did the flat dampers leak on the original piano, too? For whatever reason, it's been a constant on damper replacement jobs that I've done. I pay no attention to where the transition occurs now; I go above middle C on any piano I put new damper felts on. I guess the excepion would be Steinway. I do duplicate their damper pattern exactly. And it always seem to work fine. Tom Sivak Chicago Greg Hollister <ghollpiano at yahoo.com> wrote: I want to replace the bass dampers on a piano that has a damper arrangement I haven't seen before. All the bass dampers are flat felts on the front and back with wedges and split wedges sandwiched in the middle (at the wire). Should I be trying to duplicate this arrangement or go with all wedges etc.? I'm a little concerned with getting the two types of felt to seat equally. I realize that alot of pianos have combinations, it's finding the right combination that I'm worried about. Any wisdom? Greg H. --------------------------------- Moody friends. Drama queens. Your life? Nope! - their life, your story. Play Sims Stories at Yahoo! Games. -------------- next part -------------- An HTML attachment was scrubbed... URL: https://www.moypiano.com/ptg/pianotech.php/attachments/20070524/b182f9bc/attachment.html
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