Mason hamlin symetrigrand dates free#
Increasing the free segment length to around 20 mm in retrung pianos Their later pianos have moreįree string distance between agraffe and bearing felt.
I notice that Yamaha seem to haveĭiscovered that this is a problem also. Understring felt the rendering will be significantly improved.įurthermore, the practice of setting a too-short distance between theīearing felt and agraffe (as Steinway and Bechstein still do) tends If the bar is set to take most of the load off the Of layout, we fit a counterbearing bar between the tuning pin fieldsĪnd the felt. Theīechsteins with their very wide felt bearings become a tuners Segments are bearing hard on the understring felt in low regard. Running your finger along the underside of the original strings That the understring felt is binding with the strings, making Poor rendering is common with these pianos. The strings kept jumping back into the kink created by the >and bass has the agraffes which made the piano an absolute pig to > As you can now see the capo bar is only in the treble. Length piano which is worth remanufacturing (all manufacturers These pianos would beĪ good candidates for rescaling and redesigning the sound board Soundboard ribs, and they mostly are collapsed. This model had a compression crowned board with quite shallow The speaking length on A1 will need to be reduced to aboutġ35 cm from the original 140.
The suspended bass bridge needs to goĪs well. Should be ditched and the piano re-scaled so that it has bichordsįrom E20 right through to C#29. However theįirst few covered notes on the tenor bridge are also trichords. But in this piano the real break is at C#29/D30. Most 'designers' are still stuck on note C28 - Bfl26 as the Piano of this length, but no manufacturer today has the courage to do Strung note on this piano, which is a better place to break on a The first covers (as they are on this piano). Speaking length must be shortened between the last plain strings and Note that these early pianos have very thick rim It would seem that the serious endeavour transformed into one of That's because this Steinway (early O) was a serious attempt atīuilding a quality piano in this size. >sharp 29, is about 13 inches shorter than its neighbouring plain >that the speaking length of the first wound string in the tenor, C Overs Pianos Īt 7:21 PM -0700 7/8/04, Alan Forsyth wrote: There was an old coin in this one that lodged itself under the back of the bass keys preventing the hammers from falling below the level of the pinblock and consequently making it difficult to extricate the action. Something I learned yesterday before moving a grand piano, clean it out so all the debris inside doesn't slide down to the bass end when the piano is tilted on it's side. The soundboard is plastered in decals dedicated to kings and queens, emperors and many other a%"&*%*# 's governing Europe at the time, so it is definitely a Hamburg. If anyone knows the model designation please tell me. The strings kept jumping back into the kink created by the agraffes. The tenor and bass has the agraffes which made the piano an absolute pig to tune. The bass break starts at note E20.Īs you can now see the capo bar is only in the treble. What amazes me is that the speaking length of the first wound string in the tenor, C sharp 29, is about 13 inches shorter than its neighbouring plain string. Either that or I haven't been paying attention to my Steinways, lately.
The clue is the Capo bars in the Bass/Tenor/Treble areas.