Oh. Oops. Thanks. Jim -----Original Message----- From: caut-bounces at ptg.org [mailto:caut-bounces at ptg.org] On Behalf Of David Love Sent: Tuesday, September 18, 2007 10:40 AM To: 'College and University Technicians' Subject: Re: [CAUT] Tone "contrast"; Was - The "new" S&S Hammers. I was responding to Ric's comments actually. I agree that the concept of good piano tone is varied (see my editorial in the PTJ a month or two ago). David Love davidlovepianos at comcast.net www.davidlovepianos.com -----Original Message----- From: caut-bounces at ptg.org [mailto:caut-bounces at ptg.org] On Behalf Of Jim Busby Sent: Tuesday, September 18, 2007 9:20 AM To: College and University Technicians Subject: Re: [CAUT] Tone "contrast"; Was - The "new" S&S Hammers. Hi David, I don't think I said anything about their goals, I just know that the piano (IMO) had no contrast in timbre. It sounded the same at all dynamic levels, just louder. I've seen Vince and other excellent voicers carefully play about 8 notes ranging from pp to ff and not only are they looking for a contrast in timbre, but when and how soon or how abrupt it is. You might have misunderstood with the words I used, which always seem inadequate when describing a sound. Maybe terms "dirty, mean" etc. aren't accurate. All I know is what I hear. One of the rebuilders I referred to taught a voicing class and showed off the piano that I mentioned. This must have met his goal. I guess my point is that the concept of good piano tone seems to be extremely varied. "Vive le differance" (sp?) I guess. Regards, Jim Busby -----Original Message----- From: caut-bounces at ptg.org [mailto:caut-bounces at ptg.org] On Behalf Of David Love Sent: Tuesday, September 18, 2007 7:33 AM To: 'College and University Technicians' Subject: Re: [CAUT] Tone "contrast"; Was - The "new" S&S Hammers. I'm not sure which rebuilders you are talking about but I can guess. I think your statement mischaracterizes their goals. I neither think they are looking for a "super ppp" level (a natural pianissimo will do) nor are they equating "some kind of brilliance with noise". Avoidance of gross distortions, caused by overdriving soundboards may be a goal, but it doesn't preclude a solid fortissimo. Emphasis on sustain may require some slight sacrifice in loudness--at least from the board. Yet, on many of these boards a wide range of tone can be achieved much more easily since soundboard and string scale matching delivers a somewhat more predictable result and allows for brilliance, fortissimo (and pianissimo) with a hammer that is neither filled with lacquer nor quarried from granite. Neither are they out declaring their ideas as superior. It is simply a choice that they are making and they are being generous enough to share their ideas. I don't know about "clear market preferences". My experience with my customers (many of whom are very fine concert musicians) is that most pianos are too loud, too percussive, too strident, without expressive characteristics on the lower end. Concert preparation is a very different thing than what most people would choose to play on everyday. Also, carrying a 3000 seat hall forces you to make choices that you would not under normal playing conditions. Choices about voicing a piano for presentation at conventions are more complicated and often must anticipate dead presentation rooms, ambient noise levels and other problems. Within any design pianos can be voiced to very low or very high levels. Those choices may not reflect the potential in any given instrument. David Love davidlovepianos at comcast.net www.davidlovepianos.com -----Original Message----- From: caut-bounces at ptg.org [mailto:caut-bounces at ptg.org] On Behalf Of Richard Brekne Sent: Tuesday, September 18, 2007 1:43 AM To: caut at ptg.org Subject: [CAUT] Tone "contrast"; Was - The "new" S&S Hammers. There seems to be a growing desire amoungst several rebuilders in the states to opt for a very moody and softish sound base. The idea that a super ppp level should be needed goes to the expense of any real brilliance, seemingly because these same equate that kind of brilliance with noise. It matters not that the vast majority of pianists seem to on the other hand opt for that kind of brilliant sound base. On the one hand, I applaud the willingness to explore different colour pallets, yet on the other hand I am skeptical to the apparent insistance of some to declare their own ideas as superior others, writing off clear market preferences as meaningless in a variety of ways. Cheers RicB
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