Music Trade Review
Issue: 1923 Vol. 76 N. 5 - Page 9
Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
THE MUSIC TRADE REVIEW
FEBRUARY 3, 1923
OuTTECHNICAL DEPARTMENT
CONDUCTED BT WIIXIAX BRAID WHITB
in another place. Well, the explanation is varnish I merely have to answer that an un-
simple, though no doubt highly discreditable. finished board does not look so pretty as one
ANOTHER APOLOGY CALLED FOR
I took some of the measurements given in the which has been varnished, while, on the other
Trials and Tribulations of the Man Who Write* recent articles from the chapter in the book hand, it is believed that the varnish protects
and Wheres and Whyfores
on the same subject. Among them was this, the surface from the effects of moisture penetra-
which I copied without verifying and let it tion and in general preserves it. This is, how-
There is nothing so good as open confession. through without checking up. That is all. Any ever, only very partially true. Soundboards,
Brother Waugh, of Albany, N. Y., has just idiot could see that it was shockingly, not to whether varnished or not, do absorb and evap-
called my attention to a really gross error which say insanely, wrong; but I let it through. Why, orate moisture. With or without varnish they
has got into the recent discussion on grand demands the severe brother from Albany. I split.
piano regulating. In dealing with the back- answer, damfino. If the brother will try the An adequate protection against the absorption
checks I tell the regulator to bend these so light and easy exercise of writing a technical of moisture, which at the same time should not
that they catch the hammer when it has dropped treatise which has calculations on every other have any worse counter effect, would, of course,
l
/»" (one-eighth inch) from the string. A page, and then the still lighter recreation of be ideal; but where is that to be found? I am
moment's consideration will show any one that persuading the printers to put in type what the sure that I do not know.
the result in that case would be rather queer, manuscript says, and not something else, he will
On the other hand, since an unfinished sur-
even if it were possible to make the checks understand. I may say that a solemn thrill of
face
would easily become dirty, it might be
catch the hammer so high up, without jamming, understanding will vibrate his bosom. But only
covered
with a simple water stain, which would
which it is not. Still, as Brother Waugh justly to lith'ry fellers do these occasions befall.
do
the
least
possible harm.
remarks, some innocent might spend some fruit-
I
do
not,
of
course, expect the piano trade
less time trying to do an impossible thing,
VARNISH ON SOUNDBOARDS
to follow my teachings, but there is no harm
through accepting my words literally.
Why do piano manufacturers coat their in stating the fact that the soundboard of the
Wherefore please notice, gentlemen, that
piano would be much more efficient if it were
when the key is held down, the back-check soundboards with a nice stiff sheet of sandarac? not varnished or even coated with sandarac.
Why
do
some
go
further
and
put
on
a
still
nicer,
should catch the hammer, and hold it, when it
Fiddles and Varnish
(the hammer) has descended %" (seven- shinier and stiffer coat (or even two coats) of
At this point some scornful person will arise
varnish?
eighths inch) from the string. One cannot be
Some smart person will probably tell me that and demand an explanation. He will say, or
very exact about it, but it will be found that
something like it, "How does all this ingenious
when one has left just enough room for the it is because it looks so pretty when it is all talk jibe with the known facts of violin con-
hammer tails to pass the checks as the ham- nicely shined up. Well, so it does; but un- struction? Are not all violin bellies varnished?
mers rise the catch will take place very nearly fortunately there is another point to be con- And does not much of the marvelous tone qual-
as stated. What is always most important is sidered.
Rightly speaking, the soundboard of a piano ity of the old Cremona violins depend upon the
to make sure that the checks are bent to hold
varnish they used, the secret of which no one
the hammer securely. Until one tries, one can should be left in its natural state, "in the white," has ever discovered?"
hardly believe how often a hammer will elude as we say, after it has been placed in the frame-
The questions are ingenious and probably
the check under a hard blow when the regula- work of the piano. Neither its surface nor that
of its ribs or bridges should be touched with inevitable. They can be answered, I think.
tion is in the least imperfect.
In the first place the soundboard of the violin
Brother Waugh deserves thanks for calling any sort of varnish or finish if we propose to is not the same sort of thing as its namesake
evoke
from
it
the
best
it
has
to
give
of
tone.
attention to the error, which thanks are not the
of the piano. It performs its vibrations in a
less merited because it seems that he pointed The soundboard is a wooden sheet which is in different way under the impulses of a set of
tension
on
one
side
and
in
compression
on
the
out at the same time its original cause. This
strings which arc energized in a different man-
is no less than the misprint on page 206 of my other. It comprises regions of hard fibrous ner; which, in fact, are bowed, not struck.
material
alternating
with
other
regions
of
Modern Piano Tuning. Nearly three years ago
In the second place the soundboard of the
Mr. Waugh called my attention to this typo- resinous matter. It is a vibrator of consider-
violin
is varnished only on one surface.
able
power
and
delicacy,
but
at
the
same
time
graphical error which I had failed to correct
In the third place the varnish used on the
while the book was passing through the press. the nature of the vibrations which are impressed
I published his letter, acknowledged the error upon it renders its operations peculiarly suscep- old Italian violins was totally different from
and asked all readers to correct their copies of tible to deflection or damping when any part of anything we use on musical instruments to-day.
the book. Now, Brother Waugh wants to know the surface or interior is rendered less flexible It was compounded by very slowly dissolving
how it comes that I say the same thing again than it naturally is. A sheet of varnish simply amber and other gums in oils, perhaps by mere
acts as a large damper, light indeed, but per- gradual dissolution without the application of
ceptibly weakening in its effects. The more heat. Of course, the process of manufacture
HARLEM PIANO & ORGAN KEY € 0 . varnish is put on the board the worse for that was exceedingly slow; but when that composi-
KEY REPAIRING AND NEW WORK
tion of rich resinous matter, suspended in
board's tone-building powers.
Ivorlne, Celluloid and Composition Keys
Celluloid
S 7.00 per s e t
This statement is very easily subjected to equally rich oil, was flowed over the surface of
Ivorlne
-
8.00 •• "
test. It is only necessary to take a used piano the exquisitely chosen wood, its effect upon that
Composition
-
-
10.00 "
'*
Send all work parcels post. Give us trial order.
and carefully remove from its soundboard all surface was not a bit like the effect of the mod-
121-123 East 126th Street
New York. N. Y.
traces of varnish. An immediate and perceptible ern hard, powerful varnish of to-day upon the
improvement may be anticipated. A piano thick spruce sheet of the piano's soundboard.
manufacturer, of course, can do even better by The old violin makers knew that in due course
making up one or more pianos with the varnish their slowly distilled liquor would penetrate
(Continued on page 10)
left off the board.
'How to Repair Damage
to Varnished Surfaces"
If it be asked why, in face of all this, the
practice persists of coating soundboards with
Valuable book explains short cuts to
FREE!
refinishing profits. Tells bow damaged or
worn surfaces, in any finish, can easily
and quickly be made NEW. Every
dealer, repair man and refinisher should
have it. Sent postpaid, without cost or
obligation. Send your name and address
for your free copy to-day—a card will
do.
TUNERS
wj*h upwards of
Here are
BASS STRINGS
1
1OOO
SUCCESSFUL,
GRADUATES
special attention five* to the •oed* of the tuner and the dealer
M. L. CAMPBELL CO.
2328 Penn St.
Kansas City, Mo.
FAUST SCHOOL
OF TUNING
Standard of America
Alumni of 2000
Piano Toning, Pipe and Reed Organ
•nd Player P i n * . Year Book Free.
27-29 Gainsboro Street
BOSTON, MASS.
OTTO R. TREFZ, Jr.
at 10 Fairmount Avenue
Philadelphia, Pa.
The TUNER'S FRIEND
COURTHOUSE S<1
VALPARAISO. IND.
Repair Parts and Tools of
Every Description
Smnd for New Price*
New rtrle all bather bridle atrap
BRAUNSDORF'S ALL LEATHER BRIDLE STRAPS
Labor Savlni; MOHM Proof; guaranteed all one lenatn
Send for Sample*.
Prloot on Reque*t
Felt* and CUtht in *nu QuanUtkt
GEO. W. BRAUNSDORF, Inc.,
Braunsdorf's Other Specialties
Paper, Felt and Cloth
Pnnchlngo, Flbro) Waikon
and Brldjr«« for
Pianos, Orsjans and
Player Actions
Office and Factory t
I l a s t Mr* f t * Ksw York
THE MUSIC TRADE REVIEW
FEBRUARY 3, 1923
OuTTECHNICAL DEPARTMENT
CONDUCTED BT WIIXIAX BRAID WHITB
in another place. Well, the explanation is varnish I merely have to answer that an un-
simple, though no doubt highly discreditable. finished board does not look so pretty as one
ANOTHER APOLOGY CALLED FOR
I took some of the measurements given in the which has been varnished, while, on the other
Trials and Tribulations of the Man Who Write* recent articles from the chapter in the book hand, it is believed that the varnish protects
and Wheres and Whyfores
on the same subject. Among them was this, the surface from the effects of moisture penetra-
which I copied without verifying and let it tion and in general preserves it. This is, how-
There is nothing so good as open confession. through without checking up. That is all. Any ever, only very partially true. Soundboards,
Brother Waugh, of Albany, N. Y., has just idiot could see that it was shockingly, not to whether varnished or not, do absorb and evap-
called my attention to a really gross error which say insanely, wrong; but I let it through. Why, orate moisture. With or without varnish they
has got into the recent discussion on grand demands the severe brother from Albany. I split.
piano regulating. In dealing with the back- answer, damfino. If the brother will try the An adequate protection against the absorption
checks I tell the regulator to bend these so light and easy exercise of writing a technical of moisture, which at the same time should not
that they catch the hammer when it has dropped treatise which has calculations on every other have any worse counter effect, would, of course,
l
/»" (one-eighth inch) from the string. A page, and then the still lighter recreation of be ideal; but where is that to be found? I am
moment's consideration will show any one that persuading the printers to put in type what the sure that I do not know.
the result in that case would be rather queer, manuscript says, and not something else, he will
On the other hand, since an unfinished sur-
even if it were possible to make the checks understand. I may say that a solemn thrill of
face
would easily become dirty, it might be
catch the hammer so high up, without jamming, understanding will vibrate his bosom. But only
covered
with a simple water stain, which would
which it is not. Still, as Brother Waugh justly to lith'ry fellers do these occasions befall.
do
the
least
possible harm.
remarks, some innocent might spend some fruit-
I
do
not,
of
course, expect the piano trade
less time trying to do an impossible thing,
VARNISH ON SOUNDBOARDS
to follow my teachings, but there is no harm
through accepting my words literally.
Why do piano manufacturers coat their in stating the fact that the soundboard of the
Wherefore please notice, gentlemen, that
piano would be much more efficient if it were
when the key is held down, the back-check soundboards with a nice stiff sheet of sandarac? not varnished or even coated with sandarac.
Why
do
some
go
further
and
put
on
a
still
nicer,
should catch the hammer, and hold it, when it
Fiddles and Varnish
(the hammer) has descended %" (seven- shinier and stiffer coat (or even two coats) of
At this point some scornful person will arise
varnish?
eighths inch) from the string. One cannot be
Some smart person will probably tell me that and demand an explanation. He will say, or
very exact about it, but it will be found that
something like it, "How does all this ingenious
when one has left just enough room for the it is because it looks so pretty when it is all talk jibe with the known facts of violin con-
hammer tails to pass the checks as the ham- nicely shined up. Well, so it does; but un- struction? Are not all violin bellies varnished?
mers rise the catch will take place very nearly fortunately there is another point to be con- And does not much of the marvelous tone qual-
as stated. What is always most important is sidered.
Rightly speaking, the soundboard of a piano ity of the old Cremona violins depend upon the
to make sure that the checks are bent to hold
varnish they used, the secret of which no one
the hammer securely. Until one tries, one can should be left in its natural state, "in the white," has ever discovered?"
hardly believe how often a hammer will elude as we say, after it has been placed in the frame-
The questions are ingenious and probably
the check under a hard blow when the regula- work of the piano. Neither its surface nor that
of its ribs or bridges should be touched with inevitable. They can be answered, I think.
tion is in the least imperfect.
In the first place the soundboard of the violin
Brother Waugh deserves thanks for calling any sort of varnish or finish if we propose to is not the same sort of thing as its namesake
evoke
from
it
the
best
it
has
to
give
of
tone.
attention to the error, which thanks are not the
of the piano. It performs its vibrations in a
less merited because it seems that he pointed The soundboard is a wooden sheet which is in different way under the impulses of a set of
tension
on
one
side
and
in
compression
on
the
out at the same time its original cause. This
strings which arc energized in a different man-
is no less than the misprint on page 206 of my other. It comprises regions of hard fibrous ner; which, in fact, are bowed, not struck.
material
alternating
with
other
regions
of
Modern Piano Tuning. Nearly three years ago
In the second place the soundboard of the
Mr. Waugh called my attention to this typo- resinous matter. It is a vibrator of consider-
violin
is varnished only on one surface.
able
power
and
delicacy,
but
at
the
same
time
graphical error which I had failed to correct
In the third place the varnish used on the
while the book was passing through the press. the nature of the vibrations which are impressed
I published his letter, acknowledged the error upon it renders its operations peculiarly suscep- old Italian violins was totally different from
and asked all readers to correct their copies of tible to deflection or damping when any part of anything we use on musical instruments to-day.
the book. Now, Brother Waugh wants to know the surface or interior is rendered less flexible It was compounded by very slowly dissolving
how it comes that I say the same thing again than it naturally is. A sheet of varnish simply amber and other gums in oils, perhaps by mere
acts as a large damper, light indeed, but per- gradual dissolution without the application of
ceptibly weakening in its effects. The more heat. Of course, the process of manufacture
HARLEM PIANO & ORGAN KEY € 0 . varnish is put on the board the worse for that was exceedingly slow; but when that composi-
KEY REPAIRING AND NEW WORK
tion of rich resinous matter, suspended in
board's tone-building powers.
Ivorlne, Celluloid and Composition Keys
Celluloid
S 7.00 per s e t
This statement is very easily subjected to equally rich oil, was flowed over the surface of
Ivorlne
-
8.00 •• "
test. It is only necessary to take a used piano the exquisitely chosen wood, its effect upon that
Composition
-
-
10.00 "
'*
Send all work parcels post. Give us trial order.
and carefully remove from its soundboard all surface was not a bit like the effect of the mod-
121-123 East 126th Street
New York. N. Y.
traces of varnish. An immediate and perceptible ern hard, powerful varnish of to-day upon the
improvement may be anticipated. A piano thick spruce sheet of the piano's soundboard.
manufacturer, of course, can do even better by The old violin makers knew that in due course
making up one or more pianos with the varnish their slowly distilled liquor would penetrate
(Continued on page 10)
left off the board.
'How to Repair Damage
to Varnished Surfaces"
If it be asked why, in face of all this, the
practice persists of coating soundboards with
Valuable book explains short cuts to
FREE!
refinishing profits. Tells bow damaged or
worn surfaces, in any finish, can easily
and quickly be made NEW. Every
dealer, repair man and refinisher should
have it. Sent postpaid, without cost or
obligation. Send your name and address
for your free copy to-day—a card will
do.
TUNERS
wj*h upwards of
Here are
BASS STRINGS
1
1OOO
SUCCESSFUL,
GRADUATES
special attention five* to the •oed* of the tuner and the dealer
M. L. CAMPBELL CO.
2328 Penn St.
Kansas City, Mo.
FAUST SCHOOL
OF TUNING
Standard of America
Alumni of 2000
Piano Toning, Pipe and Reed Organ
•nd Player P i n * . Year Book Free.
27-29 Gainsboro Street
BOSTON, MASS.
OTTO R. TREFZ, Jr.
at 10 Fairmount Avenue
Philadelphia, Pa.
The TUNER'S FRIEND
COURTHOUSE S<1
VALPARAISO. IND.
Repair Parts and Tools of
Every Description
Smnd for New Price*
New rtrle all bather bridle atrap
BRAUNSDORF'S ALL LEATHER BRIDLE STRAPS
Labor Savlni; MOHM Proof; guaranteed all one lenatn
Send for Sample*.
Prloot on Reque*t
Felt* and CUtht in *nu QuanUtkt
GEO. W. BRAUNSDORF, Inc.,
Braunsdorf's Other Specialties
Paper, Felt and Cloth
Pnnchlngo, Flbro) Waikon
and Brldjr«« for
Pianos, Orsjans and
Player Actions
Office and Factory t
I l a s t Mr* f t * Ksw York
Future scanning projects are planned by the International Arcade Museum Library (IAML).