ENGLISH MECHANIC

AND

WORLD OF SCIENCE

WITH WHICH ARE INCORPORATED

"THE MECHANIC," "SCIENTIFIC OPINION," AND "THE BRITISH & FOREIGN MECHANIC."

[30558.] -- Repairing Pianofortes. - 1st. Re-hingeing the stickers : - Sticker leather may be bought in sets at one shilling each, cut to the proper width ; this should be doubled lengthways, leving one side a little longer than the other, and hammered while in that position, for the purpose both of causing it to retain its shape and thinning the bend, so that it may readily be inserted in the sticker slot : each length should then be placed along the edge of a blunt table-knife, and the stickers consecutively pressed on it. If the damper wires are left in the stickers side-trimming will be necessary, but if it is thought worth while to temporarily remove them the stickers can be planed and papered before they are separated, and then a knife drawn between the stickers cuts and trims the hinges at the same time. If the leather is carefully selected or trimmed to a uniform thickness, the hammers will be a very little out of line, and that little may easily be rectified by taking a few shavings from the under side of the key, or should there be play between the hopper and lever, a card can be glued under the key. In the case mentione by Mr. Robinson the only remedy is to cut the hoppers. 2. Double blow. Every piano not having a check action has, more or less, a double blow,. This is in part avoided by using "shovel-nosed" levers or by cutting the hopper-check to a low bevel so that the lever may be gradually let down and not rebound as it would do from a level surface. 3. In re-stringing it is preferable to take off the old strings as you go on, as by this method the general tension is not interfered with, ansd the wrest-pins are not liable to be changed. 4. When the keys are loose it is customary to wedge them : this is done by making a small orifice with a lance -shaped tool on each side of the square hole and inserting a thin wedge - the round hole may be tightened by steam. 5. And most important. For hammer covering "taper felt" may be bought. This, as its name implies, is thick at one end, and gradually tapers to the thickness of a card at the other ; for use it is cut into slips, rather wider than the hammer, each end of which must be thinned so that the felt may not rise above the level of the notch in the hammer. If would perhaps be advisable for one not accustomed to this work to glue the top end first so that the felt may be a joint at the notch, using a tie of tape to keep it from springing. About one-hald may be done in this manner, and by this time the glue (which should be thick) will have set at those first manipulated, then glue about an inch of the other end (leaving the blow of the hammer free from glue as if there it might either rattle, or, by soaking into the fet, make the tone harsh), pull the felt tightly across the hammer, and while holding it in position pass the tape over it and tie it in its place. If the felt should happen to slip back during this operation it must be pulled over again, as the tone depends entirely on the firmness of the felt. By the time the whole of the hammers are covered the first will be ready for trimming, for it the glue is allowed to go hard it will blunt the sharp knife required for this purpose. In cutting give the blade a sawing motion : do not simply press it though the felt. When the trimming is accomplished, a neat and workman-like appearances may be given by passing a hot iron over the imperfections : the hammers will finally require "toning :" if harsh the needles must be pushed through the felt at the blow, and if too soft, may be brightened by the hot iron. - W. H. DAVIES. [Sept. 14, 1877]

[30541.] -- Tuning Piano. - It is ridiculous for any person to pretend to tune any instrument correctly if the ear is not good enough (or sufficiently exercised) to instantly tell its possesor whether any note can be flat or sharp. - A., Liverpool. [Sept 21, 1877]

[30541.] -- Tuning Piano. - The expedient resorted to by tuners to ascertain whether a fourth or fifth is sharp or flat is an almost imperceptible pressure on the tuning hammer. The weight of the hand alone is often sufficient to increase or diminish the quickness of vibration. By this plan unnecessary turning of the wrist-pin is avoided. "C. E. E." must not be downcast at finding his judgment thus at fault, for he is not alone in his dilemma. For myself, I have never been able to decide by my unassisted ear whether the single vibration per second was above of below the perfect interval, and though I have been acquainted with tuners whose ability was unquestioned, I have never known one who could decide with any certainty, when tested by actual experiment. - W. H. DAVIES. [Sept. 28, 1877]

[30541.] -- Tuning Piano. - With your hand on the tuning-key there should be no difficutly in telling which note is flat or sharp, becaue the least pressure towards tightening or slackening the wire will make a differnece in the vibrations, and of course if the note being tested goes further away when slackened it is flat. Would "A., Liverpool," kindly say if he ever knew any one with so delicate an ear as to tell whether a note is flat or sharp without trial with others. Of course the querist can tell that one of two notes is flat or sharp, but he wants to know which it is, and whether it is flat or sharp. I should like to test experimentally the man who professed to do this by ear alone without trying by tests, however "ridiculous" it may seem that tuners are not able to do it. - S. MAYER [Sept. 28, 1877]

[]Tuning Piano. - S. Mayer asks me [] on p. 74. To which I answer that no []e flat or sharp, in my opinion, unless []e another. Thus I would commence by []C or A to concert pitch as per tuning- [] am of opinion that the person who could []riking that note first, and following it up []th a third, fifth, or octave, as the case [] whether the latter note sounded were [], would be better employed at some- [] to tuning pianos. I would recom-[]inal querist to invest one shilling in []Art of TUning Pianos." - A., Liverpool [Oct. 12, 1877]

[]Pianos. - I think "A., Liver-[] understands the position I take on this [] On page 46 he said, "It is ridiculous for []o pretend to tune an instrument if he []tantly tell whether a note is flat or sharp." []ly, I asked, on page 74, if he ever know []ith so delicate an ear as to tell whether a []t or sharp wihtout trial with others. I [] had put the question so plainly that there []o mistake, but the only "answer" to my [], that "no note can be flat or sharp, in my []pinion, unless compared to another" Now. []es without saying." but I used the word [] and I meant with which is differed to [] noteds by taking them one after another. [] questions, Can "A., Liverpool," or for that []ny one, tune an organ, piano, or harmonium, [] C as pitch and striking thirds, fourths p[ as quickly as he likes afterwards? I [], but I wish to know. My own impress-[] far from it being "ridiculous" for [] pretend to tune an instrument (of the kind indicated by "A.") Given the ability to [] beats, and the requisite skill to control [] tuner may be even incapable of appre-[] the difference between a fourth and a fifth, [] be an accomplished workman. Of course, [] the ear, the more easily will the tuner [] do his work ; but the number of beats is his [] his appreciation of pitch. Given mid. C., []red to tune G below one beat flat per [] F below one beat sharp per second, []lves itself into this, that fourth above []arp, fifths above flat ; and fourths below []low sharp. I know of no way of doing []ly except by sounding the two notes [] another - that is, simultaneously, not []ther - and I ask again, does your corre-[]w any tuner with so delicate an ear []just the temperament without truing []d fifths by means of beats? To put a []ng G with C, we find there is one beat per second. Is G flat or sharp? On the harmonium we flatten G by gradually raising the key, and we find that the beat increases in rapidity. We know, then, that G is flat one beat. Can any one decide by ear alone without the beat test? I think most persons can do it by beats, and their chief difficulty is in scraping the reeds ; they are apt to take too much off. But with an ear capable of appreciating beats, and by practice in scraping reeds, your readers will find that it is not "ridiculous" for them to attempt to tune. The ridiculousness is simply a question of how much their time is worth. - S. MAYER. [Oct. 19, 1877]

[30541.] -- Tuning Pianos. - My reply to S. Mayer is that when I originally answered this query I was thinking of various parties who, in attempting to learn how to play the violin, and in trying to tune it, would draw the bow backwards and forwards through a space of, say 1 1/2 in. repeatedly, alternately placing a finger on the defaulting string, to ascertain if it were flat or sharp. (Mem. - None such have turned out good players, no, not even "tip-top sawyers," any more than "Locksmith" will, no matter how he may show his teeth, if they are to differ from other blades.) In answer then to his question, I maintain that the true way to ascertain if any given note is perfectly in tune with another, is to sound the correct note first, and the other one instantly after. I am not a professional, but can tune a piano as correctly as any professor, without taking any notice of beats, and as formerly stated, can tune to "exact" concert pitch, although I may have not sounded a tuning-fork for, say , twelve months. At the same time, I allow that tuning by beats is the only plan for those whose ears are not "to the manner born." - A., Liverpool. [Oct. 26, 1877]

[30541.] -- Tuning Pianos. - The reply of "A., Liverpool." on P. 173 is scarcely so definite as one could wish, although I gather from it that he withdraws the expression "ridiculous." As I put my question originally solely in the interests of those amateurs who might be discouraged by "A.'s" condemnation of their attempts to tune, I suppose I ought to retire but your correspondent has certainly aroused my curiosity. If I understand him correctly, he "maintains the true way to ascertain if a note is in tune with another is to sound it directly after that other," which might pass, if "A." did not lead us to infer that he "can tune a piano as correctly as any professor, without taking any notice of beats." Will he oblige with a description of his method? It can scarcely be by a series of fifths, becaue that would not give equal temperament if the fifths struck one after another were true. In other words, given C, how does "A." get G just the proper quantity flat, and F ditto sharp, neither too much nor too little? Does he mean that his ear is so delicate that he can tune piano strings either to perfect thirds, fourths, and fifths, or can hit them off as they must be in modern instruments? That is the whole question. Does he work by any system? - S. Mayer [Nov. 2, 1877]

[31129.] -- Pianofortes. - Will any one practically acquainted with the construction of pianofortes kindly answer these few questions? - I have a piano which, when purchased about two years ago, had a very fine tone, but lately it seems less brilliant ; some of the notes have deadened sound adjust the hammer how you will. What is the cause of this? I have noticed in some instruments the strings rest on a brass wire running along the bridge? Does this make a difference of tone? Also, if the wires become ever so slightly rusty, would that materially deprecate the tone? - J. R. [Nov. 9, 1877]

[30541.] -- Pianos. - The system I follow in tuning a pianos is that recommended in Hamilton's "Handbood on Tuning Pianos," with the exception that I believe a "don" performer on the king of all instruments - viz., the violin - instead of trusting the beats, which, S. Mayer will be aware, if he has experience in his branch, cannnot be separated from the overtones of at least one-third of the strings on any piano I have experimented upon. I therefore tune each note perfectly correct, and then, either sharpen or flat it as much as my ear will endure without affecting me seriously in my "shoo." In conclusion, were I alongside of him at any piano I hesitate not to affirm that I would select many strings that neither himself nor any other professional could count beats upon ; but, as in many other trades, they endeavor to veil their calling in as much mystery as possible, afraid, forsooth, to impart their limited knowledge to outsiders. - A., Liverpool. [Nov. 16, 1877]

[31129.] -- Pianoforte. - 1. Were it not that [] says the want of vibration continues, however [] hammers are adjusted, I should have said th[] was "blocking" - that is the hammers cling[] the strings after the blow. As it is, I can only conclude it arise from some fault in the soundboard, either that the joints have opened or that the bridge or bars have come unglued or failing, that the soundboard may be pressing against teh bracings. 2. I have tried a wire running along the bridge, and also a steel bridge, but have found nothing equal to the wooden bridge itself without such improvements (?) 3. I do not think the wires being rusty is any deterioration to the tone ; in fact, I have sometimes thought it had a contrary effect, though, of course, if it has eaten to any depth, it renders them lible to break. - W. H. DAVIES. [Nov. 16, 1877]

[30541.] -- Tuning Pianos. - The description given by "A., Liverpool" of his method of tuning pianos leaves nothing more to be said, except to congratulate him on the possession of a faculty which is certainly not very common. There is one remark about selecting strings upon which it is impossible to count beats that I do not quite comprehend. Only about one beat per second has to be counted, and that is easily done in the middle of the compass, and once lay the bearings, and it is easy to tune by octaves - with practice, of course, like everything else. What is meant by "they endeavor to veil their calling in as much mystery as possible, afraid, forsooth, to impart their limited knowledge to outsiders," is what no fellah can be expected to understand, as it obviously cannot mean readers of the ENGLISH MECHANIC, it doesn't much matter. - S. MAYER. [Nov. 23, 1877]

[31263.] -- Pianoforte. - To Mr. W. H. DAVIES. I have lately been trying my hand at making a piano, I should be glad of a few hints to help me on my way. I have got the ends glued on, and should like to knwo which is the best way to fasten the cheeks - should they be tenoned or tongued, and at what height from the bottom? I should be glad also of any information as to the bending and putting on of the moulding at the ends of the cylinder, and to known whether it would be advisable to cut the moulding short at the back hollow or to carry it up to the top of the end? - F. R. W. [Nov. 23, 1877]

[30496.]-- Pianoforte Strings - To Mr. W. H. DAVIES. - Referring to your kind information as to pianoforte strings waving when struck singly, I wish to intimate you to a remedy which has been recommended to me, but before trying the same would like your approval. Put a piece of wet flannel over the vibrating chords in the piano, or tighten the wires that vibrat, and then rub them gently with palm oil and water ; but the piano must not be touched for at least a weel in order to let the wires dry. I shall be glad to hear of any one who has tried these experients. - CHARLIE. [Dec. 7, 1877]

[31263.] -- Pianoforte - To, Mr. W. H. DAVIES. - The cheeks should certainly not be tongued - that would only weaken them. The choice lies between dowelling and tennoning - the former I think preferable. The simplest way is to prick for the dowels throuhg a template, with four holes, and if you make the dowels of hard wood, and let them enter 2in., it is the strongest joint. The position of the cheeks is 22 1/2 in. from the bottom end, allowing 2in. for plinth, and 20 1/2in for truss. Then the cheeks are in, put the key-bottom in its place - viz., the front about 17in. from the belly -bridge. Mark its position on the cheeks and dowel by template. After glueing, the next proceeding is to hinge and fit the fall and hollow, and pencil their sweep on the cheeks ; cut as near to the mark as possible, because the pieces that come off serve as cauls in laying the moulding. To bend this it must be steamed or boiled, and you will require to get, say, a piece of 2in. tubing, 20in. long, and solder a bottom to it. After boiling for a few minutes it will be flexible enough to take the bend readily ; then have the cauls that were cut off ready hot, and handscrew or cramp the whole. Should there be, as there probably will, places where through unequal cutting the caul does not press, have some wedges ready to knock in. Whether the moulding continues to the top or not is merely a question of taste. - W. H. DAVIES. [Dec. 7, 1877]

[31488.] -- Iron-backed Pianofortes. - How are iron-backed pianos made so as to allow for the expansion of the metal by heat? And how long ought one to stand in tune? Are the cheap French pianos which are being pushed in the English marked of any value? - TEACHER. [Dec 7, 1877]

[30496.] -- Pianoforte Strings - To MR. w. H. DAVIES. - I am much obliged to "Charlie" for his confidence. Live and learn is a true motto. I could not have imagined such a cure for false strings as rubbing them with palm oil. It certainly has the merit of being harmless. Should it not succeed, and "Charlie" will locate the fault with other necessary particulars, I thing I can advise a cure. -W. H. DAVIES. [Dec. 14, 1877]

[31488.] -- Iron-Backed Pianofo[] great advantage these possess over woo[] do expand with heat, and as the strings [] they are thus kept at an even tension, [] wooden-backed piano, they would go [] flat. As to "How long an iron piano w[] tune," this depends upon so many thin[] impossible to give an answer. Some i[] cast in pieces, and afterwards bolted [] think these, as a rule, are inferior to a [] back ; but in a solid iron back, when th[] well stretched, they ought to stand up [] six months, and perhaps longer. The [] pianos do not differ much from say [] piano, and you will generally find the [] portion to the pirce. Those lately adre[] Lea in this journal I personally k[] depended on. W. H. DAVIES. [Dec 14, 1877]

[] -- Iron-backed Pianofortes. - [] should read the letters on pianofortes []armonious Blacksmith," notably one on XIII. ; he will there find that the iron- [] ees adopted for the benefit of the maker [] for the improvement of the instrument []ngs are undoubtedly necessary in good []d are invariably used ; but an iron [] an agreeable thing to contemplate in a []strument. As to the expansion, I have []re explain that that it is the great advan-[]e iron back, as "expanding" with the [] it keeps the tension uniform ; but I never [] who could explain how a solid back could []modating it its expansion as to expand []per quantity for the bass strings, and not [] for the treble -strings, and do it just at the []he strings require it. Iron backs are , then []y of constructing the piano ; but as to []n tune, that depends on circumstances. []h pianos are, I suppose, like everything []t their full value. A really good piano in []e cannot be sold much under ¨£30. -- []ATE. [Dec 14, 1877]

[31538.] -- Pianofortes with Iron F[] Iron-framed pianos have not a better t[] those of wood, when the latter are prope[] On p. 131, Vol XIII., the "Harmoniou[]smith" said : - "As far as mere capability []ing force, one seems no better than the o[] no person who is acquainted with the mere [] of applied acoustics could imagine that the [] piano can be improved by substituting p[ wood." "That iron is - under some circu[] - preferable to wood for bracing pianoforte [] to be the very last to deny, but it is only [] because a given section of iron requires [] force to crush it, and because it may be [] into more convenient forms than wood of [] strength can." That is the whole ma[] nutshell. Frames strengthened by iron [] permit heavier stringing, and consque[] duce a louderr (not necessarily better) ton[] I making a piano for myself to suit a moder[] room, it would have a wooden frame, but [] study the soundboard and the other matt[] go to make up tone. It is not the porosit[] wood, for oak is more porous than pine, a[] would thing of using oak for a piano sound[] STRINGPLATE. [Dec 21, 1877]

[31488.] -- Iron-backed Pianoforte. - An objection is taken to by remarks on p. 343 - that I [] found any one who could "explain how a solid body (iron) could be so accommodating it its expansion as to expand just the proper quantity for the bass strings, and not too much for the treble-strings, and do it just at the time that the strings reqiore it. The last portion of the sentence seems to have been overlooked by my critic, while he has allowed his imagination to get the better of his discretion. Let us assume that the "solid iron back" is so exactly proportioned that at any part of its width it is equal to the length of the string immediatly in front, and we have still to prove that the "solid iron back" will expand as rapidly as the thin string before "it is evident that the expansion would be eequal." That remark is applied to "iron bracings," whereas the querist was asking about "iron backs." Now, any one can easily ascertain for himself which expands quickest - a knitting-needle or the kitchen poker ; which gets hot quickest - a [] nib or a flat iron. Metallic bracings for pianos are old and well known, for the patent was first taken out in 1799, again in 1820 ; in 1836, I. Mott patented a "metallic skeleton," and in 1867 Phillipi patented a "metal frame cast in one piece." Since then several patents have been taken out for metal frames of one sort and another ; but the simple "bracings" all hold their own in the good factories. As to wood backs being advertised, ready string, at little more than the prime cost of an iron back, that in no way affects my argument, for I was speaking only of good pianos, and I repeat that the iron back enables a louder tone, to be got without expending so much money as would otherwise be necessary ; hence its benefit is on the side of the maker. Mr. Brinsmead says that for upright pianos, "wooden bracings with a slight help from metal in the tenor and treble are sufficient." The "Harmonious Blacksmith," in his design published in the first No. of Vol. X, used iron bracings ; but he, I suspect, would not have used an "iron back," as in his letter on p. 131, Vol. XIII., he rather ridicules the (then) latest importation for that very feature ; and in another letter , [] the casuses of pianofortes standing in tune (p.[] Vol. XIII.), he points out very clearly that piano strings are expanded more rapidly under the influences of heat than the comparatively massive members which resist their tension. And, per contra, theyu shrink more rapidly than those bar when cooling. The skilful maker of pianos does his best to compensate for this, but he does not use an "iron back" and he is careful to see that every instruemnt has reached its "bearings" before it leaves his establishment - nay, before it is finished. The question is best settled by asking another - Do Erard, Collard, Broadwood, or Brinsmead, use "solid iron backs?" If not, why not? STRINGPLATE. [Dec. 28, 1877]

[31488.] -- Iron Backed Pianofortes. - I think "Stringplate" overlooks the facts that, 1st, iron is an excellent conductor of heat, and, 2nd, that any changes of temperature to which a piano is likely to be subjected would be sufficiently gradual to allow its equal diffusion throughout. Under similar circumstances a poker and knitting-needle would be equally affected, though I am puzzled to known how the expansion of the latter "could be easily ascertained." The kindly reference to the goodness of pianos in contradistinction to those advertised in these columns, does not better his poosition, as the same analogy holds good with instruments of the most expensive kind, and a reference to the price-lists will show that iron, or, as they are termed, "metal" pianos, are higher priced than those of wood, simply becaue the outlay in wages and material is greater in the metal back, and is not, as "Stringplate" avers, a "cheaper way of constructing them." From "Stringplate's" positive assertion that iron pianos have necessarily a louder tone, and that wooden instruments cone to their bearing before they are finished, I can only come to the conclusion that he knows nothing of the internal economy of such instruments. But as, according to himself, the question can be settled by replying to another - viz., Do Erard, Collard, and Broadwood use solid iron backs?" I have great pleasure in answering that they do, and that in their best and most expensive instruments. W. H. DAVIES. [Jan. 4, 1878]

[31488.] -- Iron-Backed Pianofortes. - "Stringplate" has evidently quite erroneous notions as to the effect of iron bracings as compensating agents. Why he should expect the expansion to be greater in comparison at the bass to the left in the treble, I cannot understand, seeing that the metal bars and strings are of the same length, both in the treble and bass, unless he things one end would be nearer thefire than the other. Several yhears ago - or about the time "Harmonious Blacksmith" wrote - there was a great prejudice against the then new-fangled notion of solid metal backs ; but now their merit has overcome the opposition. It is very much to be regretted that "Stringplate" has thought proper to import so much ill-feeling and personal attacks, combined with so little practical experience of the subject. Where can he have been all this while not to know that all pianos made for extreme climates are made of solid iron, and when the most celebrated manufacturers claim compensation as one of their best qualities? Why should he not only deny their conclusions, but charge them as being only peculiarly interested? - J. E. B. [Jan. 11 1878]

[31488.] -- Iron-backed Pianofortes. - Mr. W. H. Davies thinks I have overlooked two facts -- first, that "iron is an excellent conductor of heat ; and, second, that any changes of temperature to which a piano is likely to be subject would be sufficiently gradual to allow its equal diffusion throughout." I am at a loss to know how the conducting power of iron can affect the questioon fo its expansion, for the point is that the thin wires expand more rapidly and to a greater extent than the bars used for bracing, and 'a fortiori than the "solid iron back," wwhatever may be understood by that phrase. If a bar of iron did not conduct heat when one end was warmed, the expansion would be confined to that end. But the metal in a piano is, I presume, uniformly warmed, under usual conditions, and the conducting power of the metal which I am supposed to have overlooked cannot affect the question, for let iron be the best conductor known, that supposition would not affect the amount of its expansion, for before the iron can conduct best it must receive it. Neither do I see that the changes of temperature being gradual affect the question, for let them be as gradual as possible, the thin wires would be affected more quickly and to a greater extent thant the thick bars. I must join issue with your correspondent on this point most decidely, for it is not a mere question of opinion, but one of fact ; therefore, when I find it stated that "under similar circumstances a poker and a knitting needle would be equally affected," I must ask for proof of the statement. Mr. Davies is puzzled to known how the expansion of the latter "could be easily ascertained," and that statement must be my apology for telling the readers of the ENGLISH MECHANIC what they must already know. If, then, a kitchen poker and a knitting-needle are so supported that they can be heated, and one end of each is rigidly held, the other being free to move, it is an easy matter to arrange an index or some scale which will indicate the amoount of expansion that has taken place after a given time. The "best" may take the form of two exactly similar spirit-lamps or gas-jets. A small piece fo beeswax placed on the free ends wil show clearly enough which gets hot quickest. I do not know where Mr W. H. Davies finds my "positive assertion that iron pianos have necessarily a louder tone" (page 412), although I am quite aware I have said )page 368) that "frames strengthened by iron bracings permit of heavier stringing, and, consequently, produce a louder (not necessarily better) tone," meaning, of course, that two exactly similar pianos, one with iron bracings, the other without, the greater stringth of the one permits the use of heavier strings and heavier hammers, and consequently the tone produced is louder. For the second time your correspondent is kind enough to point out that my knowledge of pianos is very limited, and if it will in any way gratify him I will say that I have never made a piano, can't play one, and am not acquainted with all the manipulations of the factory. But I endeavour to discover the truth, and thought I had sufficient knowledge to answer a query in your pages. I have dealt with facts, but if I am mistaken in calling them facts, I shall be glad to have my errors corrected. Mr. Davies also objects to my statement that every instruemnt made by a good firm has reached its "bearings" before it is finished. There is a question for the "good makers" to answer. Do they, or do they not, before "finishing" their instruments, allow them to stand for some time under the full tension of their strings - very often in rooms specially heaated, and sometimes for many months? I was under the impression that they did, but perhaps my eyes deceived me. However, I have no wish to advertise any one, but I may perhaps point out that the maker who "allows" for a piano coming to its bearings because he has not sufficient capital to store his instruments before "finishing" nad sending into the market, is very apt to be out in his calculations for the allowance," nor can he be sure that his wood is properly seasoned unless he can afford to buy in a stock and keep it a few years before he uses it. Mr. Davies asserts that Erard, Collard, and Broadwod use "solid iron backs." Will he kindly explain what he means by the phrase, for it would be very unsatisfactory, if, after I had taken the trouble to prove that they did not, we were to be informed that "solid iron backs" meant simply solid iron bars istead of tubes as bracings for the frame. In the "History of the Pianoforte," by Edgar Brinsmead, it is stated, on page 62, that "in a grand ... the strings fo the instrument are attached to pins upon a wrought-iron stringplate, which is curved to follow the form of the hollow side of the instrument. From this plate, and fastened to it, metallic bars of tubes are extended parallel to and above the strings, their ends being so connected with the stringplate at one end and the wrest-plank at the other, as to take upon themselves almost the whole of the tension of the strings. At the same time the stringplate, being screwed down firmly upon the wooden bracings or framing below, the whole forms one combined trussing, in which both wood and iron contribute to the strength." ... "The bracing, or back-making, is much simpler in the upright than in the grand piano." I have quoted from this work becaue I had it near me. but those who possess your back volumes will find in the letters of the "Harmonioius Blacksmith" valuable information on all the details of pianoforte construction. I have heard that the gentleman was well known to all the large makers as an enthusiastic amateur who spared neither skill, time, nor money in his endeavors to improve the piano. Your readers who desire sound information cannot, therefore, do better than consult his letters. - STRINGPLATE. [Jan. 11, 1878]

[31488.] -- Iron-Backed Pianofortes. - As "Stringplate" is at a loss to know "how the heat-conducting power of iron affects its expansion," I have much pleasure in telling him that without that power heat could not permeate its mass and so cause its expansion. His conclusion that thin bars or wires expand to a greater extent than thick is erroneous, but his next, that "before iron can conduct heat it must first receive it," triumphantly bears down all opposition, though what that truism has to do with the question I cannot imagine. It is much to be desrired that before making rash statements, and so filling a whole column, he would pause a little to calculate how far these statements tally with facts. Now, with regard to this expansion of a knitting-needle, it is well known that iron expands 107-1000,000ths of its length to every 180° Fahr., and taking the needle at 8in., its expansion between the freezing and boiling point of water would be about the 1-150th part of an inch, but as I think this range of temperature is rather greater than most people allow in their drawing-rooms (always excepting those who apply gas jets to their pianoforte wires), we will divide this amount by ten, and this reduces the expansion of the needle to 1-1500ths of an inch ; and the length of an index requisite to multiply this infinitesimal quantity into anything palpable would have to be 20ft, at least, and the task of distinguishing between the independent motion of this and that caued by the expansion of the needle would be - well, at any rate, not easy. With regard to heavier stringing producing louder tone, I wold remind "Stringplate" that in the competition for excellence, amongst which loudness of tone is certainly included, it is quite exceptional for an outsider, as he confesses he is, to suggest an improvement, and besides the fact that it is not a specialty of iron backs more than wood to bear heavy strings, and that beyond the usual limits these would not produce a louder tone, but rather the reverse, I very much doubt "Stringplate" proving one of these exceptions. When I stated that it took from twelve months upwards for the best wooden pianos to come to their bearings, I spoke from an experience of thirty years, part of which has been obtained in some of the largest factories in Europe, besides, what is still more conclusive, a thorough acquaintance with such instruments turned out from our leading makers. - W. H. DAVIES. [Jan. 18, 1878]

[31869.] -- Piano. - I shall be much obliged to any reader who will explain the cause of and remedy for a dead or heavy sound that is heard five out of every six times when some of the keys of my piano are struck? If touched gently, instead of a note sounding, a thud is given, and when struck heavily after the sound is heard and the key is released, there is occasionally heard a noise in some way resembling the working of a loose stop in an organ. The instrument stands well in tune, has been fairly used by the practice of scales and excercises, and the hammers may in some cases be slightly worn, but in other respects I fail to trace the fault, although on removing the keys I find in some instances the hole through which the wood of the key passes, and which I suppose to be the key pin-hole, a little enlarged outwardly. If this is the source of the annoyance can the hole be filled up with wood, and must it be redrilled with any particular tool, as I know of no gimlet or bradway that would cut a hole so clean? If this is a job that must be done by trade skill will it be expensice, as also is the recovering of hammers an expensive affair? - T. [Jan. 25, 1878]

[31869.] -- Soundboard. - Will some one say what properties in wood are necessary to have a perfect soundboard? State the qualities which give roundness of tone and power, also the kind of wood used for piano soundboards and the reason for its preference? - DELVER. [Feb. 1. 1878]

[31953.] -- Piano. - Would Mr. Davies or any othe correspondent, kindly say what distance the bridge should be on the soundboard and from the hammer line at the C notes throughout the instrument? Is it best to make the bridge in one line thoughout or to have bridges in a separate piece ; also, what kind or varnish is best to put on the soundboard and wrest plank? The instrument is a 7-octave, and is 4ft. 4in. high. - HARRY CHARLES. [Feb. 1. 1878]

[32012.] --Pianoforte. - What is best to be done, when, owing to the arrangemnet of rooms, a piano has to be placed against an outer wall? It can be six inches or so away from it. Is that sufficient, or would there be any advantage in waterproofing the brickwork in that part, or lining the wall inside up to the top of the piano with wood or felt? - CITRUS [Feb 8, 1878]

[32070.] -- Rusty Piano Wires. - Unless the [] of the evil spreading I would advise "L. J. W." ][] with the strings. It is a very trouble-[]ean them with emery-paper - almost []ble, indeed, as re-stringing. I have [] with a rage just moistened with a []raffin and olive oil arrest the further []t. - W. H. DAVIES. [Feb 22, 1878]

[32014.] --Pianoforte. - It is a remnant of old-time legends, when pianos were ten times the price they now are, and when few people could afford the luxury , and those who could swathed the expensive article like an infant, kept them out of draughts and away from outside walls. Now, nous avons change' tout cela, and, providing the wall is not actually wet, or the instrument not absolutely close to the fire, the only importance of position is that which the convenience of the owner suggests. -- W. H. DAVIES. [Feb. 15 1878]

[31947.] -- Soundboard. - I can say, from experience, that cedar is capable of producing as fine tones as any wood I have experimented upon. And I once heard a very good "street music" produced by a peripatetic perfomer on an old cigar-box mounted 'a la fiddle,. - A., Liverpool. [Mar. 1, 1878]

[32070.] -- Rusty Piano Wires. - Three or four years ago I found the wires of my piano, for about 18in. from the bottom, were very rusty. I got a little olive oil and blacklead mixed, and brushed them well with it, and have just looked at them now, and there does not appear any trace of dust, and the piano, as to tone, &c. , is certainly not any worse than it was then, but, if anything, rather better. - AE quo ANIMO. [Mar. 1, 1878]

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