Presto

S T O
November 13, 1920.
ESSENTIAL SKILL OF THE TUNER
IN PRESERVATION^ THE PIANO
An Indispensable Part of the Instrument's Upkeep and Care Too Little
Understood by the Public or Even by the
Average Dealer
11
WAREROOM WARBLES
(A New One Every Week )
By The Presto Poick.
• IT LOOKED AS THOUGH THE
BABY GRAND HAD FIVE GOOD
HEALTHY LIMBS."
By Henry Francis Peltier
Piano actions are regulated to within one thou-
sandth of an inch, and great skill is required to get
the "feel" or touch.
The action must of necessity be very responsive,
quick and not too hard to the touch. I have found
that a medium touch is the best for all-round work.
Some actions are too easy; this can be remedied
by bending the damper springs to make them strong-
er, also by starting the "liftoff" of the dampers soon-
er. When the hammer is about one-quarter up to-
wards the strings, bend the spoon so that the damper
will start to move away from the string.
To make a heavy action a little easier, I reverse
the operation, but care must be taken not to make the
damper springs too light, or weak, for then they
.will not damp properly. Have the dampers start to
leave the strings when the hammer is three-quar-
ters up towards the string, thereby making the
touch that much easier.
Back to Dampness Again.
Dampness expands all woods. More especially in
pianos, where it is very dry, caused by being treated
:n dry kilns.
The amplifying, or sound-board, absorbing damp-
ness, swells up and creates a larger crown, which
causes more tension, thereby raising the pitch of
the instrument. After a dry spell, the woods re-
turn to normal, thereby lowering the pitch, as a rule,
below ihe original.
The extra tension, caused by the expansion, puts an
extra strain upon the frame of the piano; not enough
to cause any material damage, but enough to put
the instrument out of pitch. The pitch rises when
in a damp place, and lowers when put in a dry place.
The lowering is caused by the release of tension
upon the frame of the piano.
I have had pianos in theaters to change as much
as a quarter tone, and after the heat had been on for
several days, go back and raise the pitch, where be-
fore I had to lower it.
There is nothing to do but this: in damp weather,
no matter how warm it is outdoors, a little heat in-
doors will eliminate all dampness.
The small amount of heat you would create would
not be felt very much, owing to the fact that it will
remove all. or a part, of the excess moisture in the
rooms.
In homes where a furnace is used, it is good policy
to burn up some rubbish once in a while, just to
BOHEMIAN 132 ROLL
(For 65-note
Pianos)
1. Kvitko. Valcik.
Na Pankraci na
vrsicku. Valcik.
Kralovna Vitezxtvi.
chod.
Cerveny Satacek.
Roztomila. Polka.
Siva Holubicka. Valcik.
Na Vyskocilce. Polka.
Zpiva Zivot. Valcik.
Zlata Praha. Polka.
Vesely Zivot. Valcik.
A November Release!
Place your orders now to insure
prompt delivery.
CLARK ORCHESTR \ ROLL CO.
De Kalb, Illinois
eliminate this extra moisture which sometimes
comes up through the furnace pipes.
There are no perfectly dry basements, and a little
heat makes for better health, by burning up some of
the rubbish that gathers in basements, on rainy days.
To Ease the Bearings.
Of course there are times, owing to material used,
when it becomes necessary to ease bearings on all
flanges. I use the following method if I have ample
time:
A drop of water on each flange bearing will shrink
the felt when it may have become dried. Of course
it will take time to dry.
Where there is no time to wait for this method,
I use the following: Ether and benzine, mixed half
and half, a large drop put on each bearing will give
instant relief. The ether will evaporate quickly,
also the benzine. After the benzine has evaporated,
the residue left by the benzine acts as soapstone, or
graphite. Where I have plenty of time I have used
the first method described.
•In voicing a piano with a straight or level board,
it is best to leave it somewhat brilliant, or to leave
the hammers somewhat hard.
You thereby do not get that "slap" which a soft
hammer would create. That is why most old pianos
sound better when they are not "picked" much, but
just enough to smooth up and remove the objection-
able tones.
An old piano loses its volume, or strength, by the
board becoming flat or level, in which condition,
while it is absorbing some of the vibration, it can
not take up others coming to it from the hammer
blow. In other words, being depressed, the board
being "past" level, or below level, it is impossible for
it to absorb or increase the vibrations properly, thus
to create a larger tone.
Voicing, or Tone Regulating.
The most essential tool to have is a sand fi'e that
you can use with accuracy and ease. The piano
must first be truly harmonized, or tuned; if not, you
will not get a good smooth job of voicing.
Make a sand file as follows: A piece of thin wood,
paddle shaped, maple preferred, about a quarter of
an inch thick, one and a half (1>4) inches wide by
seven inches long. Taper the wood to about an
eighth of an inch at one end, so that you will be
able to get "under" the hammers with ease. Cut a
slot across the "paddle," so as to insert one end of
the sand paper, and then bring the other end around
to be placed under the plate, the plate screwed tight.
This will hold the paper firmly. You will be able
to file three hammers at one operation and get them
straight, too. Excepting of course the hammers in
the base, and a few that are put in on the slant, or
bias.
Stand in front of the action; that is with the ac-
tion so placed that the dampers are nearest to you.
Start with the base end and work up towards the
treble.
Hold the sand file with a firm grip, but not too
tight, as you must hold it so that it will accommo-
date itself to the surface of the hammer, and be on
the level with it. A little practice will soon make
perfect; in fact you will find that, after you have
filed several sets, you will become accurate in using
the file.
Hold the file with index finger placed in center,
thumb on one side, and second, third and fourth fin-
gers on the other side of file. Holding the file thus,
you will naturally place it in the same position eve r y
time.
Treating the Hammers.
Be sure that you remove only one or two layers of
felt at a time. If an old piano and the hammers are
badly worn and cut, it will be necessary to cut or
trim them with a knife before filing them. If this
becomes necessary, do as follows:
Start as far back as the wiring of felt will permit.
Cut an equal amount of felt all around the hammer,
being sure to remove the same amount under as you
remove at the top of the hammer. Right here I will
tell you how to sharpen j'our knife.
Use double OO sand paper; place it on a flat piece
of wood, or other surface suitable for the purpose,
rubbing the knife to and from you, as you would
sharpen a razor. The reason I use sand paper for
ARTISTIC EFFECTS.
You've read somewhere about the way
The men blush in the street,
While tripping past them, sweet and gay,
The pretty maids they meet;
They tell about the way-up skirts,
Displaying ankles trim—
But from the vision let's divert
To still more perfect limb.
In early days they used to show
Six legs on instruments
So small that they could easy go
In modern outing tents;
And later'yiant grands could boast
Of just three well-turned legs.
Which thinner grew, each to a post
More like three slender pegs.
* * *
And now piano legs have grown,
To vie with other arts,
Until there's nothing, as you'll own,
Can show more graceful parts;
One diiy I saw five graceful legs,
As fine as e'er were tooled,
That held one case as smooth as eggs,
Unless my eyes were fooled!
A LOT OF WALNUT VENEER
IN THIS MONSTER LOO
Base of Walnut Tree Brought to Ottawa, 111.,
Weighed Nearly Five and a Half Tons.
A walnut log, 12 feet long and nearly six feet in
diameter at the base and weighing five tons and
900 pounds, attracted much attention as it was moved
through the streets of Ottawa, 111., last week.
The tree from which it was obtained was found
on the Brumbach farm, east of Wedron, 111., and
was purchased for a St. Louis concern by J. O.
Wheaton of Bloomington, 111., a buyer of choice
woods. The remainder of the tree was cut up some
time ago and shipped to St. Louis.
Mr. Wheaton regards this tree as one of his great-
est "finds," and he says it will be sawed up into wal-
nut veneer for use in making pianos, talking machines
and high grade furniture. Ottawa residents who
claim to know something about trees estimate that
this one was over 200 years old.
this work is that it leaves the edge of the knife with
a rough, or saw edge. A knife sharpened like a
razor would not hold its edge very long, for felt con-
tains ingredients that soon puts the edge of a sharp
instrument out of commission.
In cutting the felt of hammers, move the knife
back and forth slightly; sometimes I have found that
I could cut the felt without much shifting of the
blade. By holding it on a slant it would cut freely;
of course this requires some practice.
Do not cut the hammers so that you will leave a
flat surface at front. They must be so cut that they
will form, and come to, a small round point at the
front. This form will cause a better tone, for it will
strike only at the node of string. If you do not
get a point or nearly that, the hammer will strike
beyond the node and spoil some effect of the tone,
in other words, will "damp" at same time the stroke
of the hammer creates the vibration.
#
(To be continued.)
Chas. C. Adams & Co., Peoria, 111., concluded a
successful removal sale last week.
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