Pianotech

Greetings,

Going through the action on a 1933 Mason & Hamlin model "A". The original backrail cloth had both edges (front and back) glued down to the backrail of the keyframe. While I do not always replace backrail cloth when regulating, this is the first one I have noticed that did not have just a single edge glued down.

The question is: what are the pros and cons of gluing both edges? Any recommendations as to whether or not it is advisable to do the same with the new b/r cloth?

Thanks,

Alan

Alan, verticals have always seemed to be simply glued down in the middle of the felt, I think some grands too. The main 'pro' to gluing one edge is that you can shim the felt from underneath to fine tune or perhaps at some later date after wear; I don't know what the downside would be.

Perhaps the felt on the M&H isn't original?

Greetings,

Going through the action on a 1933 Mason & Hamlin model "A". The original backrail cloth had both edges (front and back) glued down to the backrail of the keyframe. While I do not always replace backrail cloth when regulating, this is the first one I have noticed that did not have just a single edge glued down.

The question is: what are the pros and cons of gluing both edges? Any recommendations as to whether or not it is advisable to do the same with the new b/r cloth?

Thanks,

Alan

Greetings,

Going through the action on a 1933 Mason & Hamlin model "A". The original backrail cloth had both edges (front and back) glued down to the backrail of the keyframe. While I do not always replace backrail cloth when regulating, this is the first one I have noticed that did not have just a single edge glued down.

The question is: what are the pros and cons of gluing both edges? Any recommendations as to whether or not it is advisable to do the same with the new b/r cloth?

Thanks,

Alan

Alan,

"I was always told" Steinway (and others') backrail cloth was glued down fore and aft to place the upper surface area under tension. This is done in conjunction with a narrow strip of nameboard felt underneath at the center to hump the backrail cloth upward. The thinking is if this backrail cloth surface is taut it is more resilient, and supports a better condition of uniform key level over the life on the instrument.

David G. Hughes, RPT

Greetings,

Going through the action on a 1933 Mason & Hamlin model "A". The original backrail cloth had both edges (front and back) glued down to the backrail of the keyframe. While I do not always replace backrail cloth when regulating, this is the first one I have noticed that did not have just a single edge glued down.

The question is: what are the pros and cons of gluing both edges? Any recommendations as to whether or not it is advisable to do the same with the new b/r cloth?

Thanks,

Alan

Hi David,

Great to reap the benefit of your extensive rebuilding experience in this matter!

Sounds like you have followed the advice you have received from manufacturers re: gluing of the cloth. Makes sense to me, as well.

Alan

Alan,

"I was always told" Steinway (and others') backrail cloth was glued down fore and aft to place the upper surface area under tension. This is done in conjunction with a narrow strip of nameboard felt underneath at the center to hump the backrail cloth upward. The thinking is if this backrail cloth surface is taut it is more resilient, and supports a better condition of uniform key level over the life on the instrument.

David G. Hughes, RPT

Greetings,

Going through the action on a 1933 Mason & Hamlin model "A". The original backrail cloth had both edges (front and back) glued down to the backrail of the keyframe. While I do not always replace backrail cloth when regulating, this is the first one I have noticed that did not have just a single edge glued down.

The question is: what are the pros and cons of gluing both edges? Any recommendations as to whether or not it is advisable to do the same with the new b/r cloth?

Thanks,

Alan