Music Trade Review

Issue: 1922 Vol. 74 N. 16

Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
THE MUSIC TRADE REVIEW
APRIL 22, 1922
11
OuiTECHNICAL DEPARTMENT
CONDUCTED BY WILLIAM BRAID WHITE
RESTR1NGING OLD PIANOS
Some Advice on This Important Phase of the
Tuner's Work
"Dear Mr. White: Could you give me some
suggestions and rules for restringing an old
upright piano which is to receive also a com-
plete new action? The bridge and sound board
are in good condition. Sincerely, Eugen Sme-
tana, Philadelphia."
It is a pleasure to do what I can for the Phila-
delphia brother, who, in answer to my request,
tells me that he is a distant cousin of the great
composer of the same name.
Seeing that the sound board and bridges of the
old piano are in good condition the first thing to
do is to go carefully over the plain wire strings
with the gauge to discover what sizes are used in
the stringing, and where. Of course, if the
stringer in the first place left a record on the
plate of the gauges he used that will simplify
matters.
The next thing to do is to let down the string
tension gradually. Taking a T-hammer one
should go over the piano from end to end, let-
ting down one string in each unison till all tone
is gone out of it. Then the next string in each
unison may be let down from end to end and,
finally, the last string of each group. If the
strings are cut across when pulled up, or if they
are let down unison by unison, there may be
trouble, owing to the redistribution of the strains
on the plate during the process.
The next thing to do is to take off the bass
strings one by one. As each string is taken
off it should be hung on a piece of soft wire by
its eye. One end of this soft wire should be
Make Music Rolls
machine and make a liberal commission.
Free instruction manual. Price of complete outfit, $12.50. Send
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LEABARJAN MFG. CO.
HAMILTON, O.
DEAGAN TUNING FORKS
VIBRATIONS GUARANTEED
8«fiM "One Seventy"
A-440. Bb-466.2 and C-52S.3
(A-43S If desired)
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J. C.
*
,
Deagan Building
lnC. t
1786 Bartcan Arcane, Chiefo
URN YOUR STRAIGHT
PIANOS INTO PLAYERS
T
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
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turned up and then the bass strings may be kept
together in their proper order.
In taking off bass or other strings it is im-
portant not to turn the tuning pins out too far.
I prefer to cut off the string just above the pres-
sure bar after the pin has been turned enough to
make the wire sufficiently slack. Then the bit
of wire remaining in the tuning pin's eye and
in a coil around the pin can easily be unwrapped
without turning the pin any further.
When the entire scale is cleared, both of bass
and plain wire strings, in this way it will be well
to go over the sound board very carefully. Now
will be the time to repair worn felts, clean out
dirt and see that the bridges are in perfect con-
dition. The sound board can be washed with
soap and water. The plate should be very care-
fully cleaned of all dust and dirt. All the tapes
and felt strips on the plate should be renewed.
The spaces between the pins should be cleaned
and the plate bolts tightened till they no longer
move under easy pressure. The screws behind
the bridges may be tightened and the pressure
bar turned down if its screws appear to be loose.
The bass strings should now be sent, hanging
as they are on the wire, to a bass string maker,
to be used as patterns for a new set. Meanwhile,
the operator may begin the stringing of the plain
wire. First let coils of each gauge needed be
placed in a box filled with powdered chalk, or
what is called whiting. Then let the tuning
pins be gone over by turning them with a T-
hammer, so that any greasiness, sticking or jump-
ing can be detected in advance. Pins which
seem loose may be extracted carefully by turning
them out, counter-clockwise, and either chalked to
dry off any moisture or put aside in favor of new
and larger pins. When this has been done the
stringing can begin in earnest.
It is best to start at the extreme treble end.
The coil of wire is looped over a reel, if one can
be devised, and the operator takes care to keep
his moist hands constantly dry with the chalk in
the box. One end of the wire is drawn under
the pressure bar and brought into the eye of the
pin. Then the pin is turned till the wire has
been coiled around three times. To make a neat
coil some finger pressure will be needed. But as
soon as the wire is coiled around, even if roughly,
the wire is looped over the hitch pin, over the
bridge pins and brought back to the next tuning
pin. Then it should be cut off at a point three
fingers breadth behind the eye of the new pin,
The severed end is then taken through the eye of
the pin and the latter turned till the spare wire is
coiled.
The operator then takes his string-lifter and
places it under the first coil. He then turns the
pin with the T-hammer till he has wound the
coils firmly around the pin in contact with each
other, making a neat job. This operation is re-
peated at the second coil, and so on.
The third pin will then be taken up, and the
end of the wire, after leaving it, will be run
around the hitch pin to the first pin of the next
unison. In this way the whole job of stringing
will be carried on, down to the beginning of the
covered wire.
It is very necessary not to pull up the wire too
tightly at first. Only after all the stringing is
finished should the wire be pulled up to tone-
producing tightness.
When the bass strings arc beincj put on one
(Continued on page 12)
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Write for it now—a card will do.
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ARTROLA PLAYER CO.
If you are doing a Player Installation Business
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In it's 20?year>
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Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
12
THE MUSIC TRADE REVIEW
OUR TECHNICAL DEPARTMENT
(Continued from page 11)
must be careful to see that they are kept strung
on the wire which passes through their eyes
until each is wanted, for to put on a bass string
in the wrong place is disastrous.
After all strings are in place it will be well
to go over the pins with a hammer, gently strik-
ing them down to a firm bed in the wrest-plank
It is then well again to go over them, this time
with the tuning hammer, to see if they turn well
and easily. Loose or sticky pins may be remedied
at this point, either by chalking them or else by
putting in new ones of larger size.
The wire must now be spaced; that is to say,
the three wires in each unison must be brought
together at just the right distance from each
other. It is calculated by scale draughtsmen that
the distance from center string and center string
of two adjacent unisons should average one-half
inch, except at the lowest strings of the treble
and of the bass respectively. A string-spacing
iron is useful and can be made by filing notches
in a broad screw-driver.
Any tape required may now be wound in, and
then the piano should be ready for chipping.
The first chipping is necessarily rough. I have
always gone about it by pulling the middle C up
to C sharp by my tuning fork and then quickly
raising the octave C's up and down in accord
with this. Then I pull up the strings in between
the C's by ear, using the latter simply to check.
The second chipping may be done after the new
strings have been rubbed down (not too vio-
lently) with a cleft stick covered with a bit of
buckskin.
The second chipping should be done quite care-
fully. The pitch may be placed at about half-
way between A-S17 and A-540 and the bearings
should be laid as carefully as possible. Then the
rest of the work may be done just as in tuning,
by octaves up and down. I also recommend
strongly a third chipping, which may be done
after giving the strings a rest of a day. This
should be taken at the pitch at which the strings
are found to be resting after the second chipping.
with new ideas. Can he overcome these ob-
stacles? Maybe he can. I wish I could feel
that he surely will. If he does there may be a
new era for the piano.
SITE FOR NATIONAL CONSERVATORY
Representative Husted, of New York, Introduces
Bill With That Object in View
A POINT ON EXTRACTING HAMMERS
WASHINGTON, D. C , April 18.—The allocation of
an appropriate site in Washington on which shall
be erected a building for the use of the National
Conservatory of Music of America is sought by
Representative Husted, of New York, in a bill
which he has introduced in Congress.
The measure provides that the Fine Arts Com-
mission shall select the site and set it apart for
the use of the National Conservatory. Such
ground is to be used only as a site for the build-
ings of the conservatory, and any structures
erected thereon are to be first approved by the
Fine Arts Commission.
"Dear Mr. White: If A. R. Bell will take his
alcohol lamp and heat the hammer shank near
the glue joint to be broken and immediately use
the extractor he will find that the shank is sepa-
rated from the butt without difficulty and with
less chance for damage to the parts than the
method of using the extractor without softening
the glue. If some one knows of a better method
than this I will appreciate very much his effort
to enlighten me. Yours truly, Wiley C. Thomas,
Roanoke, Va."
PARAFFIN AT RETAIL
"Dear Mr. White: I happened to notice in The
Music Trade Review of February 11 a request
from C. F. Schweikart for the name of a firm
which sells paraffin oil at a reasonable price. You
have most likely had several answers to this
query, but, not being sure, I will say that the
article may be procured from H. Behlen & Bro.,
10 Christopher street, New York City. The last
I ordered from this firm cost 75 cents a gallon,
but, as it has been a year or more since it was
bought, I cannot say what the price may be.
W. A. Jackman, Newport, R. I."
MANY THANKS, BROTHERS
for the excellent material from your pens which
appears on this page and without which I should
not have been able to make it as interesting as (to
me, at least) it locfks. May I ask you to remem-
ber, one and all, that our family parties are not
complete unless every one of you gets into the
talk circle once in a while? So please wake your-
selves out of that delightful but fatal attack of
Spring fever and send in the products of your in-
spiration. Address everything to William Braid
White, care The Music Trade Review, 373
Fourth avenue, New York, N. Y.
APRIL 22, 1922
PLAN ILLINOIS TRADE ASSOCIATION
SPRINGFIELD, I I I . , April 17.—Plans are under way
for a meeting of the music merchants of the
State in this city on April 24 and 25, to consider
the formation of a State Association of Music
Merchants. This meeting is the result of a re-
cent conclave of central Illinois music men here,
when the initial plans for the fotmation of an
association were discussed.
The Pioneer Hardware & Music Co., of Bur-
lington, Kan., was considerably damaged in a
flood resulting from a cloudburst which recently
inundated part of the business section of the
town.
EMANUEL MOOR
A Description of the Two-bank Keyboard for
the Piano
Last Winter I published in this department an
article going into the invention by Emanuel Moor
of a two-bank keyboard for the piano, and dis-
cussing some of the possibilities therein com-
prehended. It is rather amusing to observe how
many magazines, in and out of the trade, are
now talking learnedly about this new departure,
despite the fact that only those who understand
the technical problems of action making and 'the
equally complex problems of piano playing can
appreciate either the inventor's difficulties or the
measure of success which he has achieved.
Just pausing to remind my readers that the
Moor keyboard consists of two banks placed one
immediately above the other so that the per-
former can reach instantly with one hand from
one to the other, playing on both with the same
hand, and that the upper keyboard plays just one
octave higher than the corresponding key on the
lower one, I direct attention to the quite obvious
fact that the additional leverages required, both
in coupling one board to the other and in trans-
ferring the key-strokes of the upper board to the
lower, must demand additional machinery in the
action, with resulting influence both on the nature
of the touch and on the cost of production. Now,
whether this fact will outweigh the obvious ad-
vantages of a keyboard which enables one to
make otherwise impossible stretches and chord-
manipulations is a question that should at the
present moment interest us all. Personally, I
think that Mr. Moor has two obstacles to over-
come, each of which is very powerful. He will
have to overcome the lethargy of the musical pro-
fession, which will have to learn a new technique
even though the Moor keyboards look just like
the ordinary ones. Then he will have to face the
inertia of the trade, which does not like to mess
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