I’d put a thin or aluminum screw at an angle into that bridge, countersunk, and you get that tone back. Otherwise inject glue into the crack, wood glue thinned with water, you can use a hypodermic needle, and put a small clamp around grabbing from the back side of the cantilever for the glue to set.
Thank you for this Charles, I've heard similar comments from a local restorer who does this sometimes at the clients house. Interesting to hear the results if you have an example, best. Evan
@@RobertsPianosHouston Brigham Larson does a lot of these kinds of fixes on his YT channel. (The fact that I question some of his methods has given me courage to go with my own half-baked ideas, ha). I’ve only rebuilt one bridge ever but it went well and my impression is it’s basically cabinet work. Of course there are the scientific million factors but myself I find it gratifying to just do the easiest fix sometimes, get the bang for the buck, get enough tone back to where maybe some voicing can cover it or it’s as good as it was when new. In this case the fix is to restore the uninterrupted chain of physical contact between string terminations at the bridge and the soundboard. If you can’t inject glue from the side you can drill a small hole just through the cap and use a syringe, with a wider, plastic nozzle than hypodermic, something that fits the hole perfectly. Similar to how glue can be injected under a hard wood floor that has started to come up. And clamping or screwing together of course. With removing or loosening the relevant strings probably. Best of luck, yes I agree smaller pianos can sound good, and they’re easier to move for sure. I thought it’s nice how you seem in your playing to see the designers’ tone intentions of a Baldwin. I feel like most pianos can sound good if prepped/voiced and the pianist gets in the frame of mind of the palette of sounds that the instrument has.
Hi Michael, we do 442 mostly to stabalise the piano once it arrives at the shop. A440 is standard, however 442 is quite normal for musicians. For us it helps us maintain the pitch above standard as it leaves the store as well, if we get called in a year or two later it is likely to still be above standard pitch. Hope this explains the question, thank you for watching, I hope all is well. Evan
Thank you for watching. We appreciate your engagement in the comments and will try and get back to as many as possible. Roberts Pianos
I’d put a thin or aluminum screw at an angle into that bridge, countersunk, and you get that tone back. Otherwise inject glue into the crack, wood glue thinned with water, you can use a hypodermic needle, and put a small clamp around grabbing from the back side of the cantilever for the glue to set.
Thank you for this Charles, I've heard similar comments from a local restorer who does this sometimes at the clients house. Interesting to hear the results if you have an example, best. Evan
@@RobertsPianosHouston Brigham Larson does a lot of these kinds of fixes on his YT channel. (The fact that I question some of his methods has given me courage to go with my own half-baked ideas, ha). I’ve only rebuilt one bridge ever but it went well and my impression is it’s basically cabinet work. Of course there are the scientific million factors but myself I find it gratifying to just do the easiest fix sometimes, get the bang for the buck, get enough tone back to where maybe some voicing can cover it or it’s as good as it was when new. In this case the fix is to restore the uninterrupted chain of physical contact between string terminations at the bridge and the soundboard. If you can’t inject glue from the side you can drill a small hole just through the cap and use a syringe, with a wider, plastic nozzle than hypodermic, something that fits the hole perfectly. Similar to how glue can be injected under a hard wood floor that has started to come up. And clamping or screwing together of course. With removing or loosening the relevant strings probably. Best of luck, yes I agree smaller pianos can sound good, and they’re easier to move for sure. I thought it’s nice how you seem in your playing to see the designers’ tone intentions of a Baldwin. I feel like most pianos can sound good if prepped/voiced and the pianist gets in the frame of mind of the palette of sounds that the instrument has.
Evan, why 442A and not 440A regarding your tuning?
Hi Michael, we do 442 mostly to stabalise the piano once it arrives at the shop. A440 is standard, however 442 is quite normal for musicians. For us it helps us maintain the pitch above standard as it leaves the store as well, if we get called in a year or two later it is likely to still be above standard pitch. Hope this explains the question, thank you for watching, I hope all is well. Evan
Thank you Evan for your quick reply..much success; been watching your great Dad for about 9 months
Thank you Evan for your quick reply..much success; been watching your great Dad for about 9 months
@@michaelkennis6097 thanks for being part of the community