Corrections and Additions

In Second Printing

The following is a list of corrections and additions that appear in the second printing of Pianos Inside Out. To find out the printing of the copy you have, see the bottom of the copyright page. If printing is not indicated, your copy was manufactured during first printing and does not contain the following changes.

Page Location Text Correction/Addition
CoverBack, left column—Jim Ialeggio, RPT—Jim Ialeggio
Advance PraiseLeft column—Jim Ialeggio, RPT, piano rebuilder—Jim Ialeggio, piano rebuilder
ivBottomPrinted on acid-free paperPrinted in the United States of America on acid-free paper
xLeft column, second rowKatherine HoyengaKatharine Hoyenga
56Third paragraph under "Agraffes and Capo Tasto"to prevent the strings form wearing grooves in the V barto prevent the strings from wearing grooves in the V bar
312Second column, line 422.5 mm20.2 mm
312Second column, line 8from 6.0 to 5.0from 6.0 to 5.5
312Eq. 74Denominator is 22.5Denominator should be 20.2
312Eq. 74, lines 2 and 36.226.93
312Eq. 74, line 3Result is 5.0Result should be 5.5
398Second column, third sentence under "Upweight"If the average between the front weight and upweight . . .If the average between the downweight and upweight . . .
399Second column, fifth paragraph under "Removing Lead Weights" To determine which lead(s) to remove, balance the key for the desired downweight/upweight by placing a lead (of the same weight as the leads in the front) on the back side of the key. Mark the lead’s position with chalk. To determine which lead(s) to remove, balance the key for the desired downweight/upweight by placing two leads (of the same weight as the leads in the front) on the back side of the key. Mark the leads’ position with chalk.

 

After Second Printing

The following corrections and additions were caught after the second printing, and will be made in a future printing or edition of Pianos Inside Out. Thanks to everyone who took the time to report these corrections. Special thanks to the book reading club at Orpheus Piano Co., especially Isaac Wynn and Scott Murphy who read the book cover-to-cover and painstaikingly documented most of the bloopers below. Thanks also to Marc Valdeyron of Piano e forte éditions for catching several issues that eluded everyone else.

Page Location Text Correction/Addition
3Footnote 21, bottom of left column See Sabine Klaus, "German Square and Heart-shaped Pianos." See Sabine Klaus, "German Square and Harp-shaped Pianos."
9Footnote 51, bottom of left column Beethoven’s three sonatas Op. 27 . . . Beethoven’s two sonatas Op. 27 . . .
72Right column, paragraph 2 cut from a large sheet felt cut from a large sheet of felt
98Figure 209, musical notation on top The interval between G3 and C4 (third bracket from left) is labeled as "P5". It should be labeled "P4" (perfect 4th).
98Second column, second paragraph, under Eq. 3 This time we need to divide that number by 5 (to move five octaves down) . . . This time we need to divide that number by 2 five times (to move five octaves down) . . .
98Left column, second paragraph We start from an A4 at 400 Hz. We start from an A4 at 440 Hz.
98Right column, last paragraph, under "Comparing Major Thirds with an Octave" An M3s is a 5:4 interval . . . A M3 is a 5:4 interval . . .
121Right column, 2nd paragraph Another useful check is to play a major triad chord in the middle section (for example, C4-E4-G4), let it ring for a few seconds, then play the note you tuned while holding the chord. Another useful check is to play a major triad chord in the middle section (for example, C4-E4-G4), let it ring for a few seconds, then play the note you tuned (for example, C7) while holding the chord.
122Tuning chart The three "A#4" bubbles on the second grey vertical line under note A#3 on the keyboard. The labels should be A#3, not A#4.
156Right column, 2nd paragraph . . . if the post is twisted and the repetition repetition lever . . . . . . if the post is twisted and the repetition lever . . .
166Right column, bottom Tools and Materials list The list should appear before the heading "Regulating Grand Action"
172Right column, 2nd paragraph . . . To reduce how much time you spent bent over the piano . . . . . . To reduce how much time you spend bent over the piano, . . .
182Right column, step 3 Move text "See “Adjusting Damper Wires” on page 184" to step 2, after "The idea is to bend the damper wire front/back at bend 4." Step 2 should read ". . . The idea is to bend the damper wire front/back at bend 4 (see “Adjusting Damper Wires” on page 184). . . ."
190Right column, step 18 . . . Slowly depress the damper pedal slowly and observe . . . . . . Slowly depress the damper pedal and observe . . .
226Left column, caption of Figure 388 Cut the broken string somewhat past the counterbearing felt (toward the tuning pin), then create the loops in the old and new strings, and attach them to one another. Cut the broken string somewhat past the counterbearing felt (toward the tuning pin), then create the loop in the new string and slip it onto the old string as shown. Create the loop in the old string and slip the new string into the old string’s loop.
230Left column, step 14 Bring string to pitch: Tune both lengths to a minor third under its normal pitch. . . . Bring string to pitch: Tune both lengths to about a minor third under their normal pitch. . . .
247Right column, next to last paragraph . . . In hammer shanks, align the ends so they are between 1 and 2 o’clock when viewed from the shank’s left side (with the hammer at 9 o’clock). . . . . . . In hammer shanks, align the ends so they are between 1 and 2 o’clock when viewing the shank from its left side. . . .
258Left column, bottom, step 1 Remove bridge pins in the area of the separation being careful not to damage to bridge (cap) . . . Remove bridge pins in the area of the separation being careful not to damage the bridge (cap) . . .
268Right column, end of step 3 For high-gloss finish, place several of foam wrap over the blankets. For high-gloss finish, place several sheets of foam wrap over the blankets.
274Right column, under "Tools", bottom bullet Several key lead weights (1/2" [12 mm] preferred) Several key lead weights (1/2" or 12 x 12 mm preferred)
282Left column, line 6 . . . between the knuckle-to-center-pin (3A) and knuckle-to-hammer-tip (3B) distances . . . . . . between the knuckle-to-center-pin (3A) and center-pin-to-hammer-tip (3B) distances . . .
283Left column, Figure 466 Angle α (alpha) not clear Small arrows added to arcs depicting angle α (alpha)
290Right column, under "LW", Description, last sentence Typically 12–16 g for large (1/2") leads. Typically 12–16 g for large (1/2" or 12–13 mm) leads.
292Right column, under "Where to Place Leads in an Already Leaded Key?" . . . You should leave at least 1/2" [12 mm] of space between the leads . . . . . . You should leave at least 1/2" [12.7 mm] of space between the leads . . .
295Left column, bottom paragraph In the case of a group of evenly spaced leads, distance multiplier . . . In the case of a group of evenly spaced leads, the distance multiplier . . .
295Left column, bottom paragraph . . . For leads that are located in the rear segment, distance multiplier is negative . . . . . . For leads that are located in the rear segment, the distance multiplier is negative . . .
296Side bar "Calculating Leads", second column, second paragraph Number of leads: A 1/2" [12 mm] lead weighs approximately 14 g . . . Number of leads: A 1/2" [12–13 mm] lead weighs approximately 14 g . . .
297Left column, second paragraph For example, if there will be three 1/2" [12 mm] lead weights . . . For example, if there will be three 1/2" [12 or 13 mm] lead weights . . .
303Right column, Figure 476 Vertical alignments of bubbles to connecting horizontal lines not consistent. Improved consistency.
303Right column, Figure 476 caption, last sentence Because blow distance shouldn’t be changed by more than 3 mm, key dip bears the brunt of the change (f and g). If you want to keep blow distance unchanged, key dip will bear the brunt of the change (f and g).
329Right column, paragraph before "Removing Dust" To strap the plate to the hoist, use either of the following . . . To strap the plate to the hoist, use any of the following . . .
345Right column, paragraph 1 . . . a jump from 0.147" to 0.162" [3.73 to 4.11 mm] is too large . . . . . . a jump from 0.146" to 0.162" [3.71 to 4.11 mm] is too large . . .
347Left column, 5th bullet under "Tools" . . . 0.147" [3.73 mm] is the most common size . . . . . . 0.146" [3.71 mm] is the most common size . . .
350Left column, step 2 . . . Thoroughly wet the brush with glue thoroughly . . . . . . Thoroughly wet the brush with glue . . .
358Gluing Porous Key Tops: Tools and Materials sidebar, right column, last paragraph under "Clamps" . . . supplement those with standard C clamps (Figures 413 and 414) . . . . . . supplement those with standard C clamps (Figures 540 and 541) . . .
393Footnote 365, bottom of left column For a video of the multitool by Nick Gravagne, RPT, see http://s1190.photobucket.com/ albums/z459/ngravagne/? action=view¤t= IntroNubbyCut.mp4 and http://s1190.photobucket.com/ albums/z459/ngravagne/? action=view¤t= movie.mp4. For a video of the multitool by Nick Gravagne, RPT, search YouTube for “Intro Nubby Cut” (https://youtu.be/IFY0CYTrpJM) and “NubbyCuts” (https://youtu.be/nN82-Lhg2SU).
395Left column, step 6 Adjust blow distance on guide notes to approximately 1/8' [3 mm] . . . Adjust blow distance on guide notes to approximately 1/8" [3 mm] . . .
416Left column, bottom paragraph . . . conditions you should take into account before doing any belly work or stringing the piano . . . . . . conditions you should take into account before belly work or stringing . . .
431Right column, last bullet point under "Stringing a Vertical Piano" . . . For instructions for making loops and installing single strings, see . . . For instructions for making loops and installing single strings, see “Replacing a Broken Plain Single String in Grands” on page 230
432Left column, paragraph 1 . . . Protect the case with . . . . . . Protect the case with movers blankets. . . .
450Right column, step 17 . . . With the old block on top of the old one (inside the piano) . . . . . . With the old block on top of the new one (inside the piano) . . .
463Second column, sentence before last paragraph When turned, the tuning clamps the rib . . . When turned, the tuning pin clamps the rib . . .
465Right column, under "Filling Screw Holes" . . . Cut the dowels flush with the surface with a veneering (flush-cutting) saw a rotary power tool . . . . . . Cut the dowels flush with the surface with a veneering (flush-cutting) saw or a rotary power tool . . .
481Left column, under "Varnishes" . . . You must then let the surface dry for 24 or 48 hours . . . . . . You must then let the surface dry for 24 to 48 hours . . .
490Right column, first bullet under "Damper Felt Noises" . . . Hard damper felt and string oxidation on the felt makes damper emit a zing noise on return. . . . . . . Hard damper felt and string oxidation on the felt make the damper emit a zing noise on return. . . .
499Left column, last sentence under "Double string" . . . See also “double string.” . . . See also “individually tied strings.”
500Left column, under "Friction (F)" . . . Half of the difference between downweight (DW) and upweight (UW): (DW – UW) 3 2. . . . . . . Half of the difference between downweight (DW) and upweight (UW): (DW – UW) / 2. . . .