Well, I cant speak of course for anyones personal clientel circle or how impartial each of us deal with these. Nor was that the point. My own comments were based on observations I make about the posts coming through on this list, and hardly the world at large. Tho these obervations about apparent list tastes do indeed match closely my own experiences with my own clientel. And my own voicing path for that matter. There will of course always be a certain back and forthishness to this. Pianists DO want more then the instrument can provide and historically always have done so. As far as I can remember, which is beginning to be quite a ways back, and as far as history tells there has been this constant desire for more power and brightness simultaneous with the desire still more warmth and darkness. Pretty much like wanting to mix blues and reds without the mesh of the mix dominating the result. There are parallels in other arts as well but we need not go there. I would point out that there is no real validity in attaching what is clearly a totally subjective concept like piano tone to the phrase <<expressive control>> as is done in the universal sense below. Thats not an opinion, its just fact. One need go no further then to mention Horowitz. Expressive control and the intimate experience a pianist has with the instrument is wholly in the realm of what the pianists own fingers tell her. It has nothing whatsoever to do with one or the other basic scope of tonal colour. Just as the artist chooses her set of colors... so does the pianist. What you or I like or dislike... is an entirely different matter. Cheers RicB > More > people are eschewing the Yamaha model of power and brightness, attack and > percussion for warm expressiveness. Not everyone, but more and more, that's > what people are asking for. > > David Love Same here. Everywhere they turn, it's bright, loud, and painful, and those that want expressive control and a sound that doesn't hurt don't find an alternative in the local markets. Ron N
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