Dear Cyrillus, Our posts, I think, are a perfect illustration of the differing points of view which I talked about. (European and American) We have both worked from different assumptions. I mentioned innovation, and it seemed to you that I was changing the subject, because for you innovation seems to be something confined to manufacturers. I, on the other hand, was totally ignoring the manufacturers. I was talking about piano technicians in their every day work, devising new ways to do things, experimenting. You might say even, fiddling, and tinkering. It runs very deep in our national character, this urge to figure out how things work and to find new ways to do things. So, if we can use bandaids, teabags, scotch tape, baling wire, crazy glue, and horses who can play the harp, we will. The piano is a relatively recent invention. Where do you think all the methods that you were taught, all the "right" ways to rebuild and repair came from? People, faced with problems which they didn't know how to solve, figured out things to try. They tinkered, they fiddled. They met with glorious success or absolute catastrophe, and everything in between. They kept the good and threw out the bad, and kept tinkering. After their techniques had passed through three or four heads, they became the traditional methods you were taught to master, the right ways to do things. We, today's (American) piano technicians, here and now, are faced with new problems. We have new materials, such as new adhesives. We have that awful multitude of extremely cheap and poorly built instruments, and another multitude of better built but totally worn out old uprights. Many of their owners don't have the money for anything better, and they have children who are ready to learn to play the piano. These children may well move on to better things, and buy better pianos when they grow up, if they can get a start. The old wreck is their start, if we can get it working. If crazy glue will give them an instrument to learn on, I'll use it and thank heavens for it, and try to figure out as many tricks to play with it as I can. Of course you put new pinblocks in old European uprights; they are worth it. Our Whitney spinets are not worth it, and, unless one of them is of _overwhelming_ sentimental value to someone, I would never condone spending so much money on it. If that much money is available, it should be spent getting a better piano. Much of the time, though, the money isn't there. It's a matter of fixing the dying spinet or doing without a piano altogether. Of course, you can turn your back on everyone who can't or won't buy a good quality piano and pay you a lot to fix it by traditional methods when it needs fixing. A lot of technicians do, and, essentially, work only for the rich, or try to. I won't turn my back. If these people want to play, and to teach their children to play, I'll find some way to help them, by whatever means I can. I don't think this is unprofessional in the slightest. And I'll keep tinkering. It is my heritage, my birthright. We can each do things in our own way. You can pass on your craft unchanged, as you received it. A lot of people will like that. They will call you an Old World Craftsman. There is nothing wrong with that. To each his or her own ... (Part Three: thank you, but .... I'm still looking for that body shop full of _really bright_ people ... it MUST be out there somewhere!! and I bet they could show me some really dandy new repairs ...) Susan ------------------------------------------------------------------------- At 02:24 PM 5/21/98 EDT, you wrote: >Dear Susan, >The discussion is not about Europe versus USA nor where innovation takes >place. But I am pleased to serve you with my opinion to this as well. >Innovations in the field of how to do faster indeed took place in the USA. >Innovations of how to do better didn't in comparison. Exemptions are Falcone, >Mason & Hamlin,Walter, Fandrich and some tool makers do an Excellent job. But >across both lakes on either side of the USA innovations take place in all of >the categories. I agree with you that more emphasis is given to the quality >of the innovations. Yamaha innovations win the race in most categories, but >credit is due to Kawai and Young Chang as well (Asia). On the other side of >the USA innovations in all categories took place at Schimmel, Ibach, Seiler, >Grotrian Steinweg,Petrof, Steingraeber, Kemble, August Forster, Rameau, >Gaveau, Pleyel, Erard, Fazioli, Bosendorfer, Renner, Abel, Hermann Kluge,etc. >Even the Rippen piano with compete plastic action and the aluminum grand piano >was one of the most innovative in history. But it proved ones again that not >all innovations have an improving nature.(Europe) Steinway Hamburg carried the >Steinway fame trougout the world (Hamburg does the bulk of the export to the >rest of the world) by not changing the original design. (no Teflon, no half >rounds under the ballance) Only quality improvements to compete with the >quality competition that takes place in the European piano market. ( Polyester >finishes, large casters For the larger models) In the USA price competition is >the key word. >Part two: Your hesitation to conventionally repair an Aeolian spinet speaks >for it self. I have never hesitated to go all the way in the repair of an old >European upright. My statement about Band-Aids as hammer covering should not >be taken out of context. >Part tree: I guess you already visited the body shop. Your articles are >normally very Bright. > >Thanks for your input in the discussion. >Cyrillus Aerts > ------------------------------------------------------------------------ Susan Kline P.O. Box 1651 Philomath, OR 97370 skline@proaxis.com "I march to a different drummer, whose location, identity, and musical training haven't yet been established." -- Ashleigh Brilliant
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