CAUT

Greetings,

We are rebuilding a Steinway D and someone suggested drilling the tuning pin block for 1/0 tuning pins as opposed to the usual 2/0 size. The pianos  I am familiar with that come with 1/0 tuning pins from the manufacturer either have tuning pin plate bushings or an open window pin block (no plate webbing over the tuning pin field).

My guess is that, in these instances, the greater flexibility of 1/0 pins compared to 2/0 is mitigated by the bottom of the coils being closer to the terra firma of either the plate bushing or the block itself. If that is correct, then the problem with using 1/0 pin in pianos without either an open window pin block or tuning pin plate bushings might be that thy are too flexible if the coil bottom is a few millimeters above the plate webbing, which imposes an additional few millimeters before the spot where the pin enters the block.

But that is pure conjecture on my part. Has anyone out there either done this themself or know of anyone else that has?

I am all in favor of experimentation, but do not relish the thought of possibly having to re-pin a freshly strung piano.

Alan

Greetings,

We are rebuilding a Steinway D and someone suggested drilling the tuning pin block for 1/0 tuning pins as opposed to the usual 2/0 size. The pianos  I am familiar with that come with 1/0 tuning pins from the manufacturer either have tuning pin plate bushings or an open window pin block (no plate webbing over the tuning pin field).

My guess is that, in these instances, the greater flexibility of 1/0 pins compared to 2/0 is mitigated by the bottom of the coils being closer to the terra firma of either the plate bushing or the block itself. If that is correct, then the problem with using 1/0 pin in pianos without either an open window pin block or tuning pin plate bushings might be that thy are too flexible if the coil bottom is a few millimeters above the plate webbing, which imposes an additional few millimeters before the spot where the pin enters the block.

But that is pure conjecture on my part. Has anyone out there either done this themself or know of anyone else that has?

I am all in favor of experimentation, but do not relish the thought of possibly having to re-pin a freshly strung piano.

Alan

Greetings,

We are rebuilding a Steinway D and someone suggested drilling the tuning pin block for 1/0 tuning pins as opposed to the usual 2/0 size. The pianos  I am familiar with that come with 1/0 tuning pins from the manufacturer either have tuning pin plate bushings or an open window pin block (no plate webbing over the tuning pin field).

My guess is that, in these instances, the greater flexibility of 1/0 pins compared to 2/0 is mitigated by the bottom of the coils being closer to the terra firma of either the plate bushing or the block itself. If that is correct, then the problem with using 1/0 pin in pianos without either an open window pin block or tuning pin plate bushings might be that thy are too flexible if the coil bottom is a few millimeters above the plate webbing, which imposes an additional few millimeters before the spot where the pin enters the block.

But that is pure conjecture on my part. Has anyone out there either done this themself or know of anyone else that has?

I am all in favor of experimentation, but do not relish the thought of possibly having to re-pin a freshly strung piano.

Alan

Hi Ed,

Thanks so much for your highly relevant and comprehensive response to my query. Exactly the kind of information that I needed!

It was a pleasure to be in classes with you at the last national convention, whether you were up front teaching or out in the peanut gallery with the likes of me.

Drinks are on me In Reno!

Alan 

Greetings,

We are rebuilding a Steinway D and someone suggested drilling the tuning pin block for 1/0 tuning pins as opposed to the usual 2/0 size. The pianos  I am familiar with that come with 1/0 tuning pins from the manufacturer either have tuning pin plate bushings or an open window pin block (no plate webbing over the tuning pin field).

My guess is that, in these instances, the greater flexibility of 1/0 pins compared to 2/0 is mitigated by the bottom of the coils being closer to the terra firma of either the plate bushing or the block itself. If that is correct, then the problem with using 1/0 pin in pianos without either an open window pin block or tuning pin plate bushings might be that thy are too flexible if the coil bottom is a few millimeters above the plate webbing, which imposes an additional few millimeters before the spot where the pin enters the block.

But that is pure conjecture on my part. Has anyone out there either done this themself or know of anyone else that has?

I am all in favor of experimentation, but do not relish the thought of possibly having to re-pin a freshly strung piano.

Alan

Hi Ed,

Thanks so much for your highly relevant and comprehensive response to my query. Exactly the kind of information that I needed!

It was a pleasure to be in classes with you at the last national convention, whether you were up front teaching or out in the peanut gallery with the likes of me.

Drinks are on me In Reno!

Alan 

Greetings,

We are rebuilding a Steinway D and someone suggested drilling the tuning pin block for 1/0 tuning pins as opposed to the usual 2/0 size. The pianos  I am familiar with that come with 1/0 tuning pins from the manufacturer either have tuning pin plate bushings or an open window pin block (no plate webbing over the tuning pin field).

My guess is that, in these instances, the greater flexibility of 1/0 pins compared to 2/0 is mitigated by the bottom of the coils being closer to the terra firma of either the plate bushing or the block itself. If that is correct, then the problem with using 1/0 pin in pianos without either an open window pin block or tuning pin plate bushings might be that thy are too flexible if the coil bottom is a few millimeters above the plate webbing, which imposes an additional few millimeters before the spot where the pin enters the block.

But that is pure conjecture on my part. Has anyone out there either done this themself or know of anyone else that has?

I am all in favor of experimentation, but do not relish the thought of possibly having to re-pin a freshly strung piano.

Alan

Ron also used to create pins with a higher torque in the top layer of the pinblock than at the bottom, and I dream of finding a piano like that every time I tune. I think he did it with a layer of epoxy at the top of the block.

Most of the side forces are exerted in that top layer, and so that has the most potential for damage from them.

I think he did bridges the same way, for the same reason. I'm sure it's in the library.

--Cy-- 

Hi Ed,

Thanks so much for your highly relevant and comprehensive response to my query. Exactly the kind of information that I needed!

It was a pleasure to be in classes with you at the last national convention, whether you were up front teaching or out in the peanut gallery with the likes of me.

Drinks are on me In Reno!

Alan 

Greetings,

We are rebuilding a Steinway D and someone suggested drilling the tuning pin block for 1/0 tuning pins as opposed to the usual 2/0 size. The pianos  I am familiar with that come with 1/0 tuning pins from the manufacturer either have tuning pin plate bushings or an open window pin block (no plate webbing over the tuning pin field).

My guess is that, in these instances, the greater flexibility of 1/0 pins compared to 2/0 is mitigated by the bottom of the coils being closer to the terra firma of either the plate bushing or the block itself. If that is correct, then the problem with using 1/0 pin in pianos without either an open window pin block or tuning pin plate bushings might be that thy are too flexible if the coil bottom is a few millimeters above the plate webbing, which imposes an additional few millimeters before the spot where the pin enters the block.

But that is pure conjecture on my part. Has anyone out there either done this themself or know of anyone else that has?

I am all in favor of experimentation, but do not relish the thought of possibly having to re-pin a freshly strung piano.

Alan

Hi Cy,

I recall reading about Ron N's epoxy-entombed bridge caps, but I think for pin blocks he used thinner, harder laminations, possibly Delignit.

Can anyone either confirm or disconfirm this?

Alan

Ron also used to create pins with a higher torque in the top layer of the pinblock than at the bottom, and I dream of finding a piano like that every time I tune. I think he did it with a layer of epoxy at the top of the block.

Most of the side forces are exerted in that top layer, and so that has the most potential for damage from them.

I think he did bridges the same way, for the same reason. I'm sure it's in the library.

--Cy-- 

Hi Ed,

Thanks so much for your highly relevant and comprehensive response to my query. Exactly the kind of information that I needed!

It was a pleasure to be in classes with you at the last national convention, whether you were up front teaching or out in the peanut gallery with the likes of me.

Drinks are on me In Reno!

Alan 

Greetings,

We are rebuilding a Steinway D and someone suggested drilling the tuning pin block for 1/0 tuning pins as opposed to the usual 2/0 size. The pianos  I am familiar with that come with 1/0 tuning pins from the manufacturer either have tuning pin plate bushings or an open window pin block (no plate webbing over the tuning pin field).

My guess is that, in these instances, the greater flexibility of 1/0 pins compared to 2/0 is mitigated by the bottom of the coils being closer to the terra firma of either the plate bushing or the block itself. If that is correct, then the problem with using 1/0 pin in pianos without either an open window pin block or tuning pin plate bushings might be that thy are too flexible if the coil bottom is a few millimeters above the plate webbing, which imposes an additional few millimeters before the spot where the pin enters the block.

But that is pure conjecture on my part. Has anyone out there either done this themself or know of anyone else that has?

I am all in favor of experimentation, but do not relish the thought of possibly having to re-pin a freshly strung piano.

Alan

Hi Cy,

I recall reading about Ron N's epoxy-entombed bridge caps, but I think for pin blocks he used thinner, harder laminations, possibly Delignit.

Can anyone either confirm or disconfirm this?

Alan

Ron also used to create pins with a higher torque in the top layer of the pinblock than at the bottom, and I dream of finding a piano like that every time I tune. I think he did it with a layer of epoxy at the top of the block.

Most of the side forces are exerted in that top layer, and so that has the most potential for damage from them.

I think he did bridges the same way, for the same reason. I'm sure it's in the library.

--Cy-- 

Hi Ed,

Thanks so much for your highly relevant and comprehensive response to my query. Exactly the kind of information that I needed!

It was a pleasure to be in classes with you at the last national convention, whether you were up front teaching or out in the peanut gallery with the likes of me.

Drinks are on me In Reno!

Alan 

Greetings,

We are rebuilding a Steinway D and someone suggested drilling the tuning pin block for 1/0 tuning pins as opposed to the usual 2/0 size. The pianos  I am familiar with that come with 1/0 tuning pins from the manufacturer either have tuning pin plate bushings or an open window pin block (no plate webbing over the tuning pin field).

My guess is that, in these instances, the greater flexibility of 1/0 pins compared to 2/0 is mitigated by the bottom of the coils being closer to the terra firma of either the plate bushing or the block itself. If that is correct, then the problem with using 1/0 pin in pianos without either an open window pin block or tuning pin plate bushings might be that thy are too flexible if the coil bottom is a few millimeters above the plate webbing, which imposes an additional few millimeters before the spot where the pin enters the block.

But that is pure conjecture on my part. Has anyone out there either done this themself or know of anyone else that has?

I am all in favor of experimentation, but do not relish the thought of possibly having to re-pin a freshly strung piano.

Alan

Hi Cy,

I recall reading about Ron N's epoxy-entombed bridge caps, but I think for pin blocks he used thinner, harder laminations, possibly Delignit.

Can anyone either confirm or disconfirm this?

Alan

Ron also used to create pins with a higher torque in the top layer of the pinblock than at the bottom, and I dream of finding a piano like that every time I tune. I think he did it with a layer of epoxy at the top of the block.

Most of the side forces are exerted in that top layer, and so that has the most potential for damage from them.

I think he did bridges the same way, for the same reason. I'm sure it's in the library.

--Cy-- 

Hi Ed,

Thanks so much for your highly relevant and comprehensive response to my query. Exactly the kind of information that I needed!

It was a pleasure to be in classes with you at the last national convention, whether you were up front teaching or out in the peanut gallery with the likes of me.

Drinks are on me In Reno!

Alan 

Greetings,

We are rebuilding a Steinway D and someone suggested drilling the tuning pin block for 1/0 tuning pins as opposed to the usual 2/0 size. The pianos  I am familiar with that come with 1/0 tuning pins from the manufacturer either have tuning pin plate bushings or an open window pin block (no plate webbing over the tuning pin field).

My guess is that, in these instances, the greater flexibility of 1/0 pins compared to 2/0 is mitigated by the bottom of the coils being closer to the terra firma of either the plate bushing or the block itself. If that is correct, then the problem with using 1/0 pin in pianos without either an open window pin block or tuning pin plate bushings might be that thy are too flexible if the coil bottom is a few millimeters above the plate webbing, which imposes an additional few millimeters before the spot where the pin enters the block.

But that is pure conjecture on my part. Has anyone out there either done this themself or know of anyone else that has?

I am all in favor of experimentation, but do not relish the thought of possibly having to re-pin a freshly strung piano.

Alan

You are correct, Alan. Ron used about a 10mm layer of Delignit on the top of the block, and then just a basic multi-lam for the rest of the block. I remember some conversations about this. MAN I sure do miss him. 
Kevin 

Hi Cy,

I recall reading about Ron N's epoxy-entombed bridge caps, but I think for pin blocks he used thinner, harder laminations, possibly Delignit.

Can anyone either confirm or disconfirm this?

Alan

Ron also used to create pins with a higher torque in the top layer of the pinblock than at the bottom, and I dream of finding a piano like that every time I tune. I think he did it with a layer of epoxy at the top of the block.

Most of the side forces are exerted in that top layer, and so that has the most potential for damage from them.

I think he did bridges the same way, for the same reason. I'm sure it's in the library.

--Cy-- 

Hi Ed,

Thanks so much for your highly relevant and comprehensive response to my query. Exactly the kind of information that I needed!

It was a pleasure to be in classes with you at the last national convention, whether you were up front teaching or out in the peanut gallery with the likes of me.

Drinks are on me In Reno!

Alan 

Greetings,

We are rebuilding a Steinway D and someone suggested drilling the tuning pin block for 1/0 tuning pins as opposed to the usual 2/0 size. The pianos  I am familiar with that come with 1/0 tuning pins from the manufacturer either have tuning pin plate bushings or an open window pin block (no plate webbing over the tuning pin field).

My guess is that, in these instances, the greater flexibility of 1/0 pins compared to 2/0 is mitigated by the bottom of the coils being closer to the terra firma of either the plate bushing or the block itself. If that is correct, then the problem with using 1/0 pin in pianos without either an open window pin block or tuning pin plate bushings might be that thy are too flexible if the coil bottom is a few millimeters above the plate webbing, which imposes an additional few millimeters before the spot where the pin enters the block.

But that is pure conjecture on my part. Has anyone out there either done this themself or know of anyone else that has?

I am all in favor of experimentation, but do not relish the thought of possibly having to re-pin a freshly strung piano.

Alan

I found a photo of an actual Nossaman pin block panel. Link below, I hope. Just as Kevin said, the Delignit layer is 3/8" (10 mm).

IMG_5845.jpg dropbox.com

Sent from my iPad

You are correct, Alan. Ron used about a 10mm layer of Delignit on the top of the block, and then just a basic multi-lam for the rest of the block. I remember some conversations about this. MAN I sure do miss him. 
Kevin 

Hi Cy,

I recall reading about Ron N's epoxy-entombed bridge caps, but I think for pin blocks he used thinner, harder laminations, possibly Delignit.

Can anyone either confirm or disconfirm this?

Alan

Ron also used to create pins with a higher torque in the top layer of the pinblock than at the bottom, and I dream of finding a piano like that every time I tune. I think he did it with a layer of epoxy at the top of the block.

Most of the side forces are exerted in that top layer, and so that has the most potential for damage from them.

I think he did bridges the same way, for the same reason. I'm sure it's in the library.

--Cy-- 

Hi Ed,

Thanks so much for your highly relevant and comprehensive response to my query. Exactly the kind of information that I needed!

It was a pleasure to be in classes with you at the last national convention, whether you were up front teaching or out in the peanut gallery with the likes of me.

Drinks are on me In Reno!

Alan 

Greetings,

We are rebuilding a Steinway D and someone suggested drilling the tuning pin block for 1/0 tuning pins as opposed to the usual 2/0 size. The pianos  I am familiar with that come with 1/0 tuning pins from the manufacturer either have tuning pin plate bushings or an open window pin block (no plate webbing over the tuning pin field).

My guess is that, in these instances, the greater flexibility of 1/0 pins compared to 2/0 is mitigated by the bottom of the coils being closer to the terra firma of either the plate bushing or the block itself. If that is correct, then the problem with using 1/0 pin in pianos without either an open window pin block or tuning pin plate bushings might be that thy are too flexible if the coil bottom is a few millimeters above the plate webbing, which imposes an additional few millimeters before the spot where the pin enters the block.

But that is pure conjecture on my part. Has anyone out there either done this themself or know of anyone else that has?

I am all in favor of experimentation, but do not relish the thought of possibly having to re-pin a freshly strung piano.

Alan

I would rather have a bolduc block topped by Falconwood

I found a photo of an actual Nossaman pin block panel. Link below, I hope. Just as Kevin said, the Delignit layer is 3/8" (10 mm).

IMG_5845.jpg dropbox.com

Sent from my iPad

You are correct, Alan. Ron used about a 10mm layer of Delignit on the top of the block, and then just a basic multi-lam for the rest of the block. I remember some conversations about this. MAN I sure do miss him. 
Kevin 

Hi Cy,

I recall reading about Ron N's epoxy-entombed bridge caps, but I think for pin blocks he used thinner, harder laminations, possibly Delignit.

Can anyone either confirm or disconfirm this?

Alan

Ron also used to create pins with a higher torque in the top layer of the pinblock than at the bottom, and I dream of finding a piano like that every time I tune. I think he did it with a layer of epoxy at the top of the block.

Most of the side forces are exerted in that top layer, and so that has the most potential for damage from them.

I think he did bridges the same way, for the same reason. I'm sure it's in the library.

--Cy-- 

Hi Ed,

Thanks so much for your highly relevant and comprehensive response to my query. Exactly the kind of information that I needed!

It was a pleasure to be in classes with you at the last national convention, whether you were up front teaching or out in the peanut gallery with the likes of me.

Drinks are on me In Reno!

Alan 

Greetings,

We are rebuilding a Steinway D and someone suggested drilling the tuning pin block for 1/0 tuning pins as opposed to the usual 2/0 size. The pianos  I am familiar with that come with 1/0 tuning pins from the manufacturer either have tuning pin plate bushings or an open window pin block (no plate webbing over the tuning pin field).

My guess is that, in these instances, the greater flexibility of 1/0 pins compared to 2/0 is mitigated by the bottom of the coils being closer to the terra firma of either the plate bushing or the block itself. If that is correct, then the problem with using 1/0 pin in pianos without either an open window pin block or tuning pin plate bushings might be that thy are too flexible if the coil bottom is a few millimeters above the plate webbing, which imposes an additional few millimeters before the spot where the pin enters the block.

But that is pure conjecture on my part. Has anyone out there either done this themself or know of anyone else that has?

I am all in favor of experimentation, but do not relish the thought of possibly having to re-pin a freshly strung piano.

Alan

I found a photo of an actual Nossaman pin block panel. Link below, I hope. Just as Kevin said, the Delignit layer is 3/8" (10 mm).

IMG_5845.jpg dropbox.com

Sent from my iPad

You are correct, Alan. Ron used about a 10mm layer of Delignit on the top of the block, and then just a basic multi-lam for the rest of the block. I remember some conversations about this. MAN I sure do miss him. 
Kevin 

Hi Cy,

I recall reading about Ron N's epoxy-entombed bridge caps, but I think for pin blocks he used thinner, harder laminations, possibly Delignit.

Can anyone either confirm or disconfirm this?

Alan

Ron also used to create pins with a higher torque in the top layer of the pinblock than at the bottom, and I dream of finding a piano like that every time I tune. I think he did it with a layer of epoxy at the top of the block.

Most of the side forces are exerted in that top layer, and so that has the most potential for damage from them.

I think he did bridges the same way, for the same reason. I'm sure it's in the library.

--Cy-- 

Hi Ed,

Thanks so much for your highly relevant and comprehensive response to my query. Exactly the kind of information that I needed!

It was a pleasure to be in classes with you at the last national convention, whether you were up front teaching or out in the peanut gallery with the likes of me.

Drinks are on me In Reno!

Alan 

Greetings,

We are rebuilding a Steinway D and someone suggested drilling the tuning pin block for 1/0 tuning pins as opposed to the usual 2/0 size. The pianos  I am familiar with that come with 1/0 tuning pins from the manufacturer either have tuning pin plate bushings or an open window pin block (no plate webbing over the tuning pin field).

My guess is that, in these instances, the greater flexibility of 1/0 pins compared to 2/0 is mitigated by the bottom of the coils being closer to the terra firma of either the plate bushing or the block itself. If that is correct, then the problem with using 1/0 pin in pianos without either an open window pin block or tuning pin plate bushings might be that thy are too flexible if the coil bottom is a few millimeters above the plate webbing, which imposes an additional few millimeters before the spot where the pin enters the block.

But that is pure conjecture on my part. Has anyone out there either done this themself or know of anyone else that has?

I am all in favor of experimentation, but do not relish the thought of possibly having to re-pin a freshly strung piano.

Alan

Ron also used to create pins with a higher torque in the top layer of the pinblock than at the bottom, and I dream of finding a piano like that every time I tune. I think he did it with a layer of epoxy at the top of the block.

Most of the side forces are exerted in that top layer, and so that has the most potential for damage from them.

I think he did bridges the same way, for the same reason. I'm sure it's in the library.

--Cy-- 

Hi Ed,

Thanks so much for your highly relevant and comprehensive response to my query. Exactly the kind of information that I needed!

It was a pleasure to be in classes with you at the last national convention, whether you were up front teaching or out in the peanut gallery with the likes of me.

Drinks are on me In Reno!

Alan 

Greetings,

We are rebuilding a Steinway D and someone suggested drilling the tuning pin block for 1/0 tuning pins as opposed to the usual 2/0 size. The pianos  I am familiar with that come with 1/0 tuning pins from the manufacturer either have tuning pin plate bushings or an open window pin block (no plate webbing over the tuning pin field).

My guess is that, in these instances, the greater flexibility of 1/0 pins compared to 2/0 is mitigated by the bottom of the coils being closer to the terra firma of either the plate bushing or the block itself. If that is correct, then the problem with using 1/0 pin in pianos without either an open window pin block or tuning pin plate bushings might be that thy are too flexible if the coil bottom is a few millimeters above the plate webbing, which imposes an additional few millimeters before the spot where the pin enters the block.

But that is pure conjecture on my part. Has anyone out there either done this themself or know of anyone else that has?

I am all in favor of experimentation, but do not relish the thought of possibly having to re-pin a freshly strung piano.

Alan