Boston upright pianos

[Horace Greeley]

At 08:10 AM 1/29/96 -0700, you wrote:
>
>               State University of New York at Stony Brook
>                       Stony Brook, NY
>
>                                            Joseph Vitti
>                                            Piano Technician
>                                            Music
>                                            516 632-7330
>                                            29-Jan-1996 09:57am EST
>FROM:  JVITTI
>TO:    Remote Addressee                     ( _pianotech@byu.edu )
>
>Subject: Boston upright pianos
>
>
>Stony Brook has had an infusion of funds to buy some pianos. Does anyone
>have first hand experience with the Boston uprights. The students tend to beat
>pianos to death here and the climate is not so hot either. I'm wondering how
>the pianos will hold up.
>
>Thanks
>
>Joe
>

Joe,

During my stint as head technician for the University of Southern CA. school
of music, we had occasion to try the Boston line in several different
circumstances.  In making these trials, I took care to place the instruments
where I knew that they would get not only the highest, but also the most
critical use.  I was also, for several years, involved in preparing the
Boston and Steinway pianos for the NAMM shows in Anaheim, CA.

Basically, no one was more surprised than myself by the outcome.  While
there were, to be sure, the normal "new piano" issues, the experiment was
carried out to rave reviews. The pianos were in use 12-16 hours daily, in
practice rooms as well as piano and other faculty studios.  People were
pleased by the eveness of the tone, the responsiveness of the actions, and
the similarity of touch to a Steinway.

Echoing the post from Eric, I would suggest that, in the uprights could use
some attention at the bass/treble break.  Ray (Chandler?) 's advice is
sound.  You might also try getting custom strings from someone.  Or, post a
message to Gary Conte at Boston/Steinway - there seems to be a willingness
to accept proactive suggestions that make sense.

The one "problem" we encountered had to do with some hammer "bubbling" when
the dampers were raised.  Shortening the blow and regulation seemed to cure it.

If I may be of any more assistance, please post to me at the address below.

Best,

Horace

Horace Greeley, RPT
Piano Technician & Consultant
The Colburn School of Performing Arts
Los Angeles, CA
______________________________
14 Pyxie Lane
San Carlos, CA 94070-1506
415.592.6620