I liked this post quite a bit. I've had a lot of similar experiences these past years and know how cool it is to get to spend your time on such instruments. And I particularly liked your reference to the Nossaman instrument. The guy deserves all the credit for what it is... and I mean all the credit... well aside from the building of the rim and actual casting of the plate that is. But even this later is so changed that it really has nothing to do with Steinway anymore. I keep hoping to see remanufactured and total redesigns like this to bear the name on the fallboard of the guy what done it. Like Ron Overs... screw the old name... put your own on it and well... make a name for yourself beyond our little family. I havent seen Nossamans D, but I saw his instrument in Rochester, and in my book his name deserves to be seen up front and personal. I havent quite figured out how I'm to do that on the Bluthner I'm rebuilding. The soundboard design, tho based on the origional is still different enough that its difficult for me to justify calling it a Bluthner without further ado. And I am lengthening the scale. Still I am trying to stay true to the original thinking (as I think I understand it) in the way this was built... or at least move farther down that line. I'm thinking of not including the origional soundboard decal (in copy form) and making some kind of marking myself there. But we will see. JMTC Cheers RicB I've had kind of a fun morning tuning 4 concert grands - 2 Steinway Ds, 1 Yamaha CFIIIS and a Nossaman D+. Making it even more fun was my new head, tip and custom made 4" extension for my Fujan tuning lever. Now I can get the same wonderful rigid feel even in the top section! __________________________ David M. Porritt, RPT Meadows School of the Arts
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