I've got something like that...I think Pianotek? I think Susan Graham wrote about using it for leveling agraffes... David Ilvedson, RPT Pacifica, CA 94044 ----- Original message ---------------------------------------- From: "Fenton Murray" <fmurray at cruzio.com> To: pianotech at ptg.org Received: 3/26/2009 10:09:51 AM Subject: Re: [pianotech] Managing agraffes was Increasing bridge height >>I wouldn't mind a counter bore that would maintain a shoulder >Jude, >Here are some photos of a counter bore I had a machinist modify, solves the >problem. >I had a little trouble reading the exact angle I wanted off another agraffe, >although I'm >not sure there is a magic number. Anyway, I think I used about 13 degrees. >This is for reducing the height of new agraffes while maintaining the angled >shoulder. >Fenton >----- Original Message ----- >From: "Jude Reveley/Absolute Piano" <juderev at verizon.net> >To: <pianotech at ptg.org> >Sent: Thursday, March 26, 2009 7:35 AM >Subject: Re: [pianotech] Managing agraffes was Increasing bridge height >> Thank you for a well reasoned response, Frank. (BTW great cap/whip >> post-I'm still mulling). >> >> Now, it is not uncommon to arrive at the proper agraffe angle somewhere at >> or before the border torque specification of "finger tight." My procedure >> has been to bring it around another 180 degrees for all the reasons >> mentioned in this thread, and I willingly admit this will occasionally >> twist me out of my own comfort zone for fear that I might be stressing the >> agraffe at the threads leading to all kinds of imagined catastrophies, >> present or future. I've used washers and counterbores but am not wholely >> satisfied with those techniques because of their inherent disadvantages, >> namely time consumption and flattening the shoulder at the base; so I'm >> looking for options. >> >> I wouldn't mind a counterbore that would maintain a shoulder. Suppliers? >> Listening? Jurgen? I could especially use it for those fun vintage >> Becksteins. >> >> So based on this survey, I suppose I'll stick with tight; but I'm still >> trying to get a sense of when is too tight. I figure if I had a spec for >> this limit, I could take some measurements and develop the feel. Then I >> can get on with it, as Ron suggested. >> >> As to new agraffes vs. old, for me it comes down to weighing the >> cost/benefit. Polishing old ones remains more expensive than buying new >> ones and spending a little extra time refining the holes. I save the old >> ones for when this may not be the case. I borrowed my method from >> Paul-Flitz on a quill-like buffer in a dremel or foredom. >> >> Paul: Hoping you still read every post with "agraffe" in the tiltle...what >> are you using for a buffer? I find are q-tips too big. I made some from >> hammer felt scraps but am interested trying something store bought? >> >> Thanks, >> >> Jude Reveley, RPT >> Absolute Piano Restoration, LLC >> Lowell, Massachusetts >> (978) 323-4545 >> >> ----- Original Message ----- >> From: <pianoguru at cox.net> >> To: <pianotech at ptg.org> >> Cc: "Jude Reveley/Absolute Piano" <juderev at verizon.net> >> Sent: Thursday, March 26, 2009 8:33 AM >> Subject: Re: [pianotech] Managing agraffes was Increasing bridge height >> >> >>> ---- Jude Reveley/Absolute Piano <juderev at verizon.net> wrote: >>>> Did you interpret the use of threadlock to be in the agraffe hole or at >>>> the >>>> threads. I can imagine threadlock around the agraffe threads robbing >>>> only as >>>> much energy as a tuning pin bushing. How is this related to a rigid >>>> terminus? >>> >>> With or without thread lock, if the agraffe is loose, ie. lacking solid >>> contact around the head of the stud in the counterbore, this constitutes >>> something less than a rigid terminus. To suggested the possibility of >>> vibration of the agraffe, in itself, constitutes lack of rigidity. >>> >>> To suggest the use of Thread Lock is concede that potential vibration is >>> a legitimate concern. To suggest a softer fomulation of Thread Lock in >>> the interest of serviceability is to defeat the argument for its use in >>> the first place. >>> >>> Putting aside the concerns for vibration and rigidity, do you suppose it >>> would be an acceptable practice to finger tighten all agraffes, and back >>> them off from finger-tough, to align each agraffe to an alignment >>> perpendicular to its speaking length(s)? I've seen this in new piano >>> production. It's not pretty. All I'm saying is that nothing short of >>> tightening the agraffes beyond finger-tight, will insure a rigid terminus >>> and proper alignment. >>> >>> Frank Emerson >>> >>> >>> >> >> >> >>
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