Music Trade Review

Issue: 1922 Vol. 74 N. 10

Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
M A R C H 11, 1922
11
THE MUSIC TRADE REVIEW
OurTECHNICAL DEPARTMENT
CONDUCTED BY WILLIAM BRAID WHITE
CLEANING WOUND STRINGS
With Some Pertinent Facts About Beats in
Strings, Bluing Rusty Pins and Other Items, by
E. B. Melendy, Mt. Vernon, O.
[This is a very interesting article by a man who knows
exactly what he is talking about.
I recommend it to
every reader, having myself first read it very carefully.
—W. 15. W . |
Here are a few kinks from experience that
may help some one. I get a great deal of good
from the Technical Department. It is the first
portion read when The Review arrives.
Frequently the only thing necessary to
brighten up tarnished wound strings is to brush
them crosswise with a stiff, short-bristled fiber
brush, using pressure. In cases where mice have
invaded or verdigris has formed on the copper,
or rust on the iron-wound, or light rust from
dampness or sweating, a wire-bristled brush will
do the work nicely, if the trouble be not of too
long standing. I prefer one of the light, finer
kind of brushes—for instance, such as are sold
by some auto supply houses to use in cleaning
spark-plugs. If rust or verdigris is of such
long standing as to have eaten out pits or hol-
low places there may be faulty beats in a single
string, like two out of unison. If not too no-
ticeable it may not always be necessary to re-
place such. Rust seems to vary in different
cases. Sometimes it seems to stand still—not
increase. In others it forms rapidly and makes
lumps or knots of varying size and length which
produce bad beats, and also if cleaned off are yet
bad because of the pits left. In such cases new
strings are the only cure. In some cases rust
rapidly eats the strings until they break, neces-
sitating restringing, especially where arsenicized
felts or stringing braid have been used.
I have overhauled and rustproofed several
cases satisfactorily for special conditions—damp
locations, salty air conditions and cases where
pianos have been warmed quickly enough to
produce sweating. However, this latter is a
bad practice, and even in the other instances rust
and corrosion attack all the various springs and
DEAGAN TUNING FORKS
VIBRATIONS GUARANTEED
Serin "One Seventy"
A-440. Bb-466.2 and C-52J.S
(A-435 If desired)
PRICE, 60c. EACH
. t . Lit All AN,
T
Deaf an Building
1786 Bcrteao Arenae, Chicafo
URN YOUR STRAIGHT
PIANOS INTO PLAYERS
Individual pneumatic stacks, roll
boxes, bellows, pedal actions,
expression boxes.
Manufacturers, dealers, tuners
and repair men supplied with
player actions for straight pianos.
JENKINSON PLAYER ACTION CO., Inc.
912-914 Elm St.
Cincinnati, O.
FAUST SCHOOL
OF TUNING
Standard of America
Alumni of 2000
PUB* Tung, MM gti JLtd Org••
tad Pkyar Pias*. Year B*«k Frtt.
27-29 Gdunsboro Streat
BOSTON, MASS.
metal parts and these need attention as well as
the strings.
One thing 1 warn you against. Do not use
shellac on tuning pins. It chips off under vibra-
tion and in tuning, besides, it makes the pins
so slick (worse than smooth) that you can hardly
risk leaving the tuning hammer on the pin while
you set a wedge. After the worst of the rust
is removed by using either King's tuning pin
polisher or a wire-brush paint the pins, coils
and dead ends with some of the bluing com-
pounds sold by the supply houses—Cleveland
Blue, Royal Blue, Lion Brand Bluing, etc. If
you cannot get one of these use banana oil mixed
with some coloring, preferably blue, or maybe
brown. I have sometimes used blue Diamond
Dye for wool, it being soluble in alcohol. I
have even mixed it in the dry state with the
banana oil, or banana oil sizing, technically the
same thing you use in mixing gold bronze,
aluminum lacquer, etc. But I have never been
able to mix anything that works so nicely as the
"bluings" above mentioned and it forms a nice
soft varnish or lacquer with a soft, leathery body
that remains in place under tuning—coating in
the metal and remaining rust from the air, stop-
ping the oxidation and checking at once the
action of the rust. Be particularly careful to
run the liquid behind, beyond and beneath the
back coil of wire, coating in very thoroughly the
point where the string begins to bend in form-
ing the coil. Ninety-five per cent of the breaks
occur at this point.
In some special cases I run the liquid down
behind the bearing bar very thoroughly, in others
paint very thoroughly in the lower dead ends; in
some all of the upper dead ends, being particular
around the hitch-pins, agraffes or bearing bars.
I have even without noticeable interference with
string enunciation painted the core wire in the
vibrating portion where it extends from the
wound part to either end.
In a few special cases I have loosened up the
wound strings sufficiently to remove the loop
end, permitting me to clean thoroughly all the
plain strings, not only the face where they show.
I first clean the unseen parts by passing either a
cloth having U. S. Metal Polish thoroughly
rubbed into it underneath each separate string,
or a strip of fine emery cloth, rubbing thorough-
ly the whole underside of the string until the
cloth slips smoothly and I can pass a clean cloth
under and have it come out free from rusty
streaks. When using emery cloth I try to give
each string an equal amount of the work to
preserve equality of comparative sizes.
Where domestic conditions are expected to
HARRY F. CARLSON
IVORY AND CELLULOID PIANO KEYS
KEY REBUSHING —ALL WORK GUARANTEED
!618 SIXTH STREET
continue bad you can rustproof the vibrating
portion of the string, without cutting down a
great deal on the singing or sustaining quality
of the string, by coating with linseed oil—wipe
the whole surface of the string with a rag mois-
tened with the linseed oil. This latter, plus thor-
ough work with the Cleveland Blue, in the dead
ends, especially soaking thoroughly all string-
ing braid with it, or maybe removing same when
convenient and, after cleaning rust and bluing,
replacing the braid, makes a very thorough and
dependable job. Blue also the felt under lower
ends of strings, soaking thoroughly.
You can do all the work I have suggested, plus
the chipping and tuning, at a good profit for the
time and materials involved, if you don't dray
the instrument, in different cases at from $25 to
$35, and make lasting friends. But if you are
afraid of work and are looking only for the easy,
clean jobs don't try it.
I also mothproof an instrument once in a
while for lodge-room, church or special customer
—especially when I have repaired moth-damage
or rebuilt the instrument, and some in special
regions, like the Gulf States, also the felts in pipe-
organs. Maybe your readers would be interested
in this some time. It can be done, "no such
animal" to the contrary notwithstanding.
I should like to express my own thanks and
that of all my readers, who, I know, will join
with me in thanking Brother Melendy for his
excellent, timely and valuable contribution.
(Continued on page 12)
Before
After
REJUVENATOR
For Checked Varnish
REJUVENATOR will make checked and
cracked varnish like new.
REJUVENATOR eliminates all checks and
cracks.
REJUVENATOR restores scorched or
stained varnish surfaces.
REJUVENATOR is easily applied and dries
ready to handle in two hours.
$7.00 PER GALLON
Money Back If Not Satisfied
ARTROLA PLAYER CO.
If you are doing a Player Installation Business
we can furnish Actions for Any Piano
224 N. Sheldon Street
CHICAGO, ILL.
ROCKFORD, ILLINOIS
TUNERS
POLKS
Here are
TUNINO
BASS STRINGS
In it's Midy
wHh upwards of
1OOO
SUCCESSFUL
GRADUATES
tMelal atteatlts ilvis I* IM u—4* •• MM IHMT satf the imtm
COURTHOUSE SOJ
^"VALPARAISOINDJ
OTTO R. TREFZ,
Jr.
Philadelphia, Pa.
2110 Falrmount Avenue
Repair Parts and Tools of
Every Description
The TUNER'S FRIEND
Send for New Prices
New style all leather bridle strap
BRAUNSDORF'S ALL LEATHER BRIDLE STRAPS
Labor Saving; Mouse Proof; Guaranteed all one length
Send for Samples.
Prices on Request
Fells and Cloths In any Quantities
Hraunsdorf's Other Specialties
Faper,
Felt
and Cloth
Punchings, Fibre Washers
and Bridges for
Pianos, Organs and
Player Actions
GEO. W. BRAUNSDORF, Inc., «*
Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
M A R C H 11,
12
THE MUSIC TRADE REVIEW
OUR TECHNICAL DEPARTMENT
(Continued
from
page 1 1 )
Meanwhile, here is another good technical of-
fering:
i ADVICE ON MANIFOLD MATTERS
To Brother Clemens, the Pitch-raisers and
Others, by Earl H. Webb, Mt. Carmel, 111.
"Dear Mr. White: I read your Technical De-
partment every week with much interest and
nearly always there is something in it that 1
should like to answer. Now, I will break loose
and write a few lines that may be helpful to
some weary brothers:
"In regard to the inquiry of Brother Clemens 1
should say that I think the key-bed on the piano
he refers to had settled, thus lowering the strik-
ing line of the hammer enough to cause the bass
section to strike 'one string down."
"A settling of the key-bed to the extent of
one-eighth of an inch would bring that result
on many pianos. Also I think that Brother
Clemens will find his piano has wood flanges, in
which case the flange screws may be loosened
and the hammers pushed over to the right, which
will partly remedy the trouble.
"I have had such cases and where the flanges
will not allow enough adjustment I have raised
the bass end of the action enough to correct the
trouble, meanwhile regulating the capstan
screws accordingly. 1 do not think that the
most exacting ear could have detected in any
instance the slightest injury to the tonal result
from the raising of the striking point. If any
brother has a better solution 1 should be glad
to hear of it.
Those Schomacker Strings
"I see that Brother Burton Shaw tells in the
January 21 number about those Schomacker
pianos with the 'gold' strings. I believe the
strings are made of tempered brass. The piano
has a very sweet tone, but it is not so powerful
as that of other pianos. I have found the Scho-
mackers very pleasant to work with, for they
tune well and stand in tune. But when you
have to put in a steel string the difference in tone
can readily be noticed.
Pitch vs. Tone Quality
t "I hear a great deal lately about pitch raising,
though I hear still more from my own tuning
hammer. For several years past I have been
raising in pitch almost all upright pianos that
I find to need it. Occasionally I find one that
•is old and will stand it or, again, sometimes
a singer wants a piano at low pitch. But by far
the greater number of those who ask for a 'low
tone' refer to voicing and not to pitch.
j "The piano-owning public is a joke, when it
(comes to understanding pitch and voicing. If
the tone is mellow and the wish is to have it
harder then the tuner is told to 'tune it higher."
If the tone is already metallic one will be told
to 'tune it lower.' It strikes me that the brothers
ought to awake soon to the need for doing pio-
neer educational work among the people in this
respect.
;
"As to the question of pitch in general, with
relation to the tone and efficiency of pianos, it
seems to me that brother tuners ought to learn
for themselves why piano makers design pianos
to be tuned at a certain pitch. Those who know
why this is done can tell their customers why it
is so and that will be good for everybody.
"I do not think that it is necessary to do a
lot of extra tuning work for nothing, for nine
out of every ten people you meet are willing and
anxious to have their pianos put up to proper
pitch when once they understand why this ought
to be done.
"To raise the pitch of a piano by a half-tone
involves considerable work, which should be paid
for extra. I charge $4 for tuning straight pianos
and $5 for players or grands. For raising pitch
I charge $7.50; players, $8.50 and for grands,
$10. Grands are more sensitive and require more
time. Hence the higher price for them.
"A job of pitch-raising must be carefully done
and no reasonable person will object to paying
the proper price when once a sufficient reason
has been given. Moreover, the tuner's feelings
are of some account and he ought to be able to
feel satisfied with his own work.
"The owner entrusts the piano to the tuner
because he knows that something is wrong. The
tuner is expected to know his own business (that
is, to know the piano's 'needs'). I feel that I
have not been honest with my client unless I
leave the piano in the best possible condition.
"I know a large hardware house which has a
motto reading: 'The recollection of quality per-
sists long after the price is forgotten,' and that
will apply to piano work equally well. He who,
properly talented and schooled in his art, prac-
tices always to do his best need not fear to
charge a fair price."
Thank you muchly, Brother Webb. Please
come again. You have given us some good ideas.
NEW DEVICE IN SCHUBERT PIANOS
Letter Sent to Trade by Schubert Piano Co. Ex-
plains Merits ox the Virzi Tone Producer—
Head of Schubert on Plate of Each Piano
The Schubert Piano Co., 1 West 139th street,
New York, has recently sent out some interest-
ing data pertaining to the Virzi Tone Producer
in the Schubert piano, a new device which pro-
duces a great power of softness, mellowness and
clearness, as well as a great volume of tone. Re-
garding the new Schubert piano which is equipped
with this device, the company states: "This is
the newest and most extraordinary invention in
the art of tone production. The results obtained
by this simple device are marvelous; it has
merited the applause and received the indorse-
ment of many of the world's famous artists, some
oi whom have already had it installed in the in-
struments they use in concert work.
"We are glad to say that we have obtained the
right to use it in the Schubert piano and it can
be obtained only from us."
In the same letter the company draws attention
to the fact that all Schubert pianos now bear
the trade-mark, the head of Schubert, on the
plate, and that none will be genuine Schubert
pianos without it. Another unique feature is a
new guarantee which is tied to the top frame of
each piano.
BUSINESS SHOWS^STEADY GAIN
Industrial Survey Made by the Department of
Commerce Shows Steady Improvement
EVEN WITH THESE
fine contributions your editor's thirst for assist-
ance from the brethren continues unabated. You
are requested to remember this and, when the
spirit moves you, to send in the results to Wil-
liam Braid White, care The Music Trade Review,
373 Fourth avenue, New York, N. Y.
Consult the universal Want Directory of
The Review. In it advertisements are inserted
free of charge for men who desire positions
of any kind.
THE
WASHINGTON, D. C, March 6.—Business condi-
tions of the country continue to show slow and
steady improvement and nearly every industry
reports returning confidence, according to a new
survey of the business situation, it was announced
to-day by the Department of Commerce. The
figures received as a result of the survey, it was
said, emphasize the progress which business has
made in returning to a better foundation, as com-
pared with the confusion existing six months and
a year ago.
CELEBRATED
F&G
(FELTEN & GUILLEAUME)
"*X S"^ GAR
* „
AUS VOPZUG
IMPORTED
)I F ! G J •
FELTEN I G U I L L E A U M E V » 2

CARLSWERK
W
1922
--
;
1

HAMMACHER.SCHlEMMER&C
MUSIC WIRE
IN BLACK, RED and GREEN
LABEL BRANDS
IS UNEXCELLED
The " F & G " Blue Label Brand is again being
used by Rudolph C. Koch in the manufacture
off the Reinwarth Covered Bass Strings
For TUNERS and REPAIRERS we have the
convenient one quarter pound clamps
HAMMACHER, SCHLEMMER& CO.
PIANO AND PLAYER HARDWARE, FELTS AND TOOLS
NEW YORK SINCE 1848
4th Ave. and 13th St.

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