[CAUT] New ideas; was Nossman Rebuilds.

[David Love]

Don't know about violins but guitar building technology, especially in the
area of steel string acoustic, is quite a bit more sophisticated with
understanding the effects of different woods and structures on the tonal
balance.  I think musicians (especially pianists) are on the whole very out
of touch with technical issues.  Sit them down at a piano that they respond
to and they don't really care how it got there, just how it performs.  

 

David Love

www.davidlovepianos.com

 

From: caut-bounces at ptg.org [mailto:caut-bounces at ptg.org] On Behalf Of Jeff
Tanner
Sent: Saturday, March 14, 2009 9:09 AM
To: caut at ptg.org
Subject: Re: [CAUT] New ideas; was Nossman Rebuilds.

 

 

Ron Overs wrote:

"Simply continuing to build the same spec., as was derived a century ago,
can't possibly yield state of the art.."

 

That said, it seems to me that of all manufacturers of traditional acoustic
musical instruments, the piano industry is the only one in which I am aware
which does incorporate new ideas.  Violins are still copied exactly as
closely to those whose patterns set the standard 300 years ago using exactly
the same methods and materials, and in some cases, even the same tools.
Violinists will pay tens of thousands of dollars for a bow made by a certain
maker, rejecting modern advances in bow design.  Same for the violin itself,
even though studies have revealed that audiences cannot hear the difference
in a 300 year old Strad and a $300 factory made copy.  The guitar hasn't
changed much.  The only modern changes in stringed instruments have been in
the actual production of strings, although one can still play with gut
strings.  The only accepted advances in organ have been the electric motor
to produce the air, but most traditional instruments are still operated by
mechanical action -- traditionalists still reject the electric keyboard as a
means of operating the pipes, even though there is no discernable difference
in tone.  Other than adding extra valves in some brass instruments, I am
unaware of any major design changes made to wind instruments in the last
century, but am admittedly more familiar with brass than woodwind.

 

Many of the criticisms I read on this list have actually been criticisms of
incorporation of new ideas (by Steinway, for example) designed to be an
improvement for what was previously considered a flaw.  So, the statement
Ron O. makes here actually contains quite a bit of irony.

 

It does seem to me that musicians would be the ones who are most resistant
to changes in any musical instrument.  Once a feel has been developed for a
certain touch or tone, changes made would be viewed by musicians with a
strong dose of scrutiny.  Once a product gets to a stage of development that
is well received, we tend to not want anyone to fiddle with it.  Changes are
going to be fussed at by either the musicians or the technicians.  If I were
the manufacturer, I'd much rather face criticism from the service techs than
potential buyers.

 

Ed S. made a very good point that we tend to build our own identity with a
compilation of brands.  I think it is just as much that we just tend to find
something we like and want to stick with it.

 

Jeff

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