Hi - I've just received Redstone's rant - with a different tone
than Dr.Daly's usual form. More controlled, one might say, more
17th than 18th century ... but I digress.
I had that rant two weeks ago, at the legendary Laurette Goldberg,
while in the midst of fixin' up an entire fleet of instruments for
resale. Side by side there were two Hubbard kit "French" singles,
one transposible with 61 keys; the other not with 63. I'd proposed
to make the latter slidable as well, but was defeated by the key
end blocks glued to the case side instead of to the key frame,
since the cosmetics were elaborate and valued. Laurette simply
insists that no one will ever buy an isntrument which does not
play at 440! Part of this, which she articulates, is that she deals
with conservatory violinists exclusively, and they're all preparing
for the San Fran Symphony! (Yeah, sure. No mention of Anthony
Martin's fine teaching of early fiddle.) And part of it I guess
must be the experience of some years ago; we're all conservative
at heart. I write with Wordstar, for heaven's sake!
The "Wyoming" double in question was at 415 (allowing for the
inev itable tendency of all Berkeley instruments to drift
constantly sharp, for reasons which elude one,) and had a card
taped to the music desk by the owner, "Do Not Change Pitch!"
The scale was a mite long - short 8' c" about 13 3/4 - and
despite the hard wire stringing and low brass crossover point I
thought it probably unwise to suggest tuning it up. So - for
the benefit of L's customers, I acceded to the demand.
My idea is that no one should ever actually _play_ the thing at
high pitch; it's just a way of keeping the instrument tuned down
where it belongs! Of course, I regulated it at 440 - which I
or someone will probably come to regret. How _did_ make his key
tails uniform enough in height so the transposer actually works,
Still waiting to learn mroe of those Wyoming builders.