Del, Why, oh, Why, are you worrying about this kind of a Trojan Horse at this hour???? (I know why I'm up...why are you???) As ever, best to you! Horace At 01:08 AM 3/7/1998 -0800, you wrote: > > >Billbrpt wrote: > >> To each his own but I have always thought that the deep, throaty, resonant >> bass of theis instrument makes it outstanding as one of the best verticals >> available on the market. I have also thought that its large, boxy case made >> it unappealing to people who want something less imposing. > >With most people this is a real love-it or hate-it sort of instrument. For some, obviously >including the designer, Harold Conklin, it really has an appealing sound. For others, its >sound is strident and strange. While I'm not particularly fond of it myself, I've always >felt that this was as much a factor of conditioning as anything else. In any case, viva la >difference! Or something like that. > >> I think it makes an excellent piano where a big sound is desired but there >> is not the floor space for a grand. The scale design is very interesting. It >> is the only piano I've ever seen with plain wire bichords on the bass bridge. >> >> Regards, >> >> Bill Bremmer RPT >> Madison, Wisconsin > >I think that the plain wire bi-chords in the bass was an attempt to "fix" what the company >perceived to be a tone problem in the bass of the earlier pianos. While I was at Baldwin I >was also asked to "fix" this piano. I ended up leaving it alone. It is what it is. If >something else is wanted, start over and design a different piano -- or buy one. > >Del > > > Horace Greeley, CNA, MCP, RPT Systems Analyst/Engineer Controller's Office Stanford University email: hgreeley@leland.stanford.edu voice mail: 650.725.9062 fax: 650.725.8014
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