sounds good to me. I just watch the termination angles and adjust height if they beyond reasonable targets. I have no idea what the original reasoning was for whatever they do, so rather than playing "telephone" I formulate a reasoning, as you have done in your description, and go with it. Keep records, and if you don't like a result, modify next time.
I don't cut out the counterbearing as you have done, as its a bit chancy in terms of duplex lengths, and measurements to those lengths. So I prefer separate pieces for each ratio as per Ed Mcmorrows FTDS patent. I generally do 2 to 3 segments in the high treble, and 4-6 segments in the low trebe capo. I actually do not find much benefit from the calculated duplex lengths in the low 5th to the agraffes, so I just reduce it gradually to get close to the 20-30mm I will end up with in the agraffes.
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Jim Ialeggio
grandpianosolutions.com
Shirley, MA
978 425-9026
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Original Message:
Sent: 07-12-2021 12:13
From: Floyd Gadd
Subject: Steinway A restringing prep
I elected this time around to duplicate the original counterbearings in copolymer. I have, thus far, cut the inserts to slightly taller than the highest surface in each of the original units -- within a millimeter. I intend to duplicate the angle of the capo-bar-facing surface of each insert, but to leave the top flat to provide a little more friction, which I understand to helpful when working with this material. The original insert has different heights for each trichord, presumably to provide a consistent angle for the string coming off of the capo bar. Is there a need to duplicate this? The alternative, in my mind, would be to simply ensure that the string height at the point of contact with the counterbearing is at least as high as the original. My rationale would be that once the minimum string angle coming off of the capo bar is established, any increase in the angle would simply increase friction in the system, and the increased friction is compensated for by the lubricity of the copolymer.
Does my thinking here make sense? Obviously I need to work on the cosmetics of the new inserts as well. What you see in the photo is fresh off of the bandsaw.
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Floyd Gadd
Regina SK
306-502-9103
Original Message:
Sent: 10-29-2020 15:42
From: Jim Ialeggio
Subject: Steinway A restringing prep
yup. He charges a per piano license fee, which is like $125-150, I think...i always forget the amount, and have to look it up to remember
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Jim Ialeggio
grandpianosolutions.com
Shirley, MA
978 425-9026
Original Message:
Sent: 10-29-2020 14:06
From: Floyd Gadd
Subject: Steinway A restringing prep
Jim,
I could duplicate the duplex lengths using copolymer, but the FTDS concept looks interesting. How is that approached? Contacting Ed for specs and licensing information?
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Floyd Gadd
Regina SK
306-502-9103
Original Message:
Sent: 10-29-2020 13:05
From: Floyd Gadd
Subject: Steinway A restringing prep
Hi Jim,
I've posted updates to the relevant threads for the other projects.
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Floyd Gadd
Regina SK
306-502-9103
Original Message:
Sent: 10-29-2020 08:56
From: Jim Ialeggio
Subject: Steinway A restringing prep
An aged Steinway is a pain in the ass to tune. Strings hang up on those mounds big time. I change the capos, grinding off the cast counterbearing mounds, and replacing with FTDS laid out copolymer. In the tenor, I usually retain part of the ski slope, but reduce its bearing width, cover the maple or whatever with slickstrip, making sure not to have strings bearing on any glue substance under the felt.
I'm curious how your previous string friction bearing questions played out for you when restrung.
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Jim Ialeggio
grandpianosolutions.com
Shirley, MA
978 425-9026
Original Message:
Sent: 10-29-2020 00:23
From: Floyd Gadd
Subject: Steinway A restringing prep
Thank you Jon, Alan and David. Your responses are helpful.
Any comments on how compliant string rendering tends to be in the long term with this style of front duplex mound?
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Floyd Gadd
Regina SK
306-502-9103
Original Message:
Sent: 10-28-2020 20:20
From: Alan Eder
Subject: Steinway A restringing prep
David Hughes' response:
If he's talking about the scarlet plate felting between the front duplex mounds in the plate casting and the tuning pin array then yes, what he sees is what was original to the piano.
David
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Alan Eder, RPT
Herb Alpert School of Music
California Institute of the Arts
Valencia, CA
661.904.6483
Original Message:
Sent: 10-28-2020 14:36
From: Floyd Gadd
Subject: Steinway A restringing prep
I am preparing a c.1895 Steinway A for restringing. The configuration is obviously not original, and I would like to know both what the original configuration looked like, and what recommendations you have for set-up so as to achieve compliant rendering. I do have some acetal copolymer on hand, so that gives me some options in that direction.
David Hughes piano restoration video, recently posted on this list, shows a restored A, with circular counterbearing punchings in the treble. How much of what I see there reflects original configuration?
Thanks for any help you can give me on this.
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Floyd Gadd
Regina SK
306-502-9103
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