At 21:07 -0500 3/2/09, Dean May wrote: >When you say a "treble with studs" are you talking about agraffes in the >treble? Yes. I like to use the old English term, for one thing because more people can pronounce it and spell it right! At 21:52 -0500 3/2/09, PAULREVENKOJONES at aol.com wrote: >For the sake of clarification of terminology, are you using bore >angle in the high treble to mean what we call rake? Yes. I used 'bore angle' because I'm aware that some people achieve 'rake' by other means than precise boring. After determining all the angles and lengths I bore the hammers accordingly using a drill that is slightly smaller than the un-knurled shank. I then set the knurler so that the head will slip smoothly onto the shank without any wobble. When the glue is applied the shank expands as it take on moisture from the glue, and the final result when the glue has dried is a compression fit with no risk of working loose. > And don't most Bechsteins have a designed rake in the last octave? The three shanked sets I have, from different periods, all have an outward rake of about 2 degrees with a very slight reduction of this angle in the treble, but I no longer have the pianos they came from, so how right they were I don't know. In nearly every piano that I restore I find that the optimum strike angle (90 degrees) was never perfectly achieved in the original and that an improvement, sometimes a great improvement, can be made by boring the hammers for the individual piano. In the factory they will use ready-bored sets, which take no account of possible variations from piano to piano and rely on the finisher to make the best job he can. The restorer is at an advantage. JD
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