Hello list: This is related to the post I just sent replying to Mark Ramsey wondering about possible scale improvements for pianos like that Yamaha ga-1 or a M&H Model 50, but it got to be a whole 'nother topic. Does it make sense to put a lot into trying to improve a 1970's vintage Model 50 (which is actually my mother's and arrived here with her when I needed to find a place she could move into where I could look after her) considering the model itself as well as all the slap-dash production standards that I've read existed then? I probably only have room for an upright at this time, but still would it be a better idea to look for another used piano? Say the total budget for piano and materials (stretched over a year or two, and assuming I'll be doing all the work myself) is $2500. I should say the piano is in pretty good condition, regulatable, and, with a lot of initial fooling after it arrived a year ago, a rather warm sound can be got out of it (originally it was actually kind of obnoxious, from the first day I remember hearing it almost 30 years ago -- caustic, strident, and punchy among other things). The soundboard had some 1/32" or smaller (thicknesss of 1-2 postcards) separations that I filled with carpenter's glue in humid weather before I knew anything, and they separated again when it got dry. The closeness of the grain on the soundboard ranges from about 7 per inch up to over 50 per inch, but the variations seem to be arranged randomly, all mixed up. I was counting each pair of dark and light bands as "one grain," I hope that's the right way, in other words I just counted the dark bands or lines. There's also a gap between the bottom of the sounboard and the frame -- light shows through from the back. I assume I won't be able to replace the soundboard anytime soon, given my budget (and skills). The pins that I can see seem reasonably centered on the bridge notchings -- none are anywhere near a whole pin's-width off anyway. There are no cracks around any bridge pins that I can see. But at least the bass bridge, which is cantilevered, seems to be slightly tilted so that down-bearing only happens at the back edge, and the pins hold the string down on the speaking edge. None of the strings buzz, although there's a range between very good to kind of disappointing in the tone of the bass notes. A few treble strings have mild zinging or sustain problems, and some seem to have permanent beats. I don't know what kind of action they put in it either -- the hammer butts and the catchers have cloth instead of buckskin. There's also no felt liner in the spring seats, like the hammer spring and the damper spring, they just have some kind of green paint. The action is actually quite noisy, especially in dry weather. A lot of ticks and sounds just like dried insects bumping each falling back on the rail-cloth. Each shank practically plays it's own note! This can be a bit much when the front panel is off.) The strings and coils are pretty neat, but some bass strings have over an inch of bare wire at the top and only a centimeter at the bottom. Also the wires are flattened where they come out of the windings, and the cross-sections of the flat parts are oriented differently from string to string. Some of the hammers aren't aligned too well, either. They have green underfelts and are also light-green where the staples go through. I also noticed from pictures that the current Model 50's seem to have a couple of soundboard buttons that this doesn't have. Despite all this and the problems near the bottom of the long bridge mentioned in my post just a minute ago, the piano can sound warm, rich, spirited and singing, brilliant when desired, and with fair subtlety of shading and dynamic control. I think it (now) is more musical than many of the Steinway, M&H and Yamaha grands and baby grands in the practice rooms at Northwestern U. music school, though that might not be saying much. I can play a rich friend’s 7’ Bosendorfer and, though it has many capabilities I can only dream of in a piano of my own at this time, I can actually come home from that and enjoy the tone, expression and responsiveness of this piano as it is. That's in a nutshell why I think it might have hope. But before I start getting fixed on a plan or talking to suppliers and so on, I'd like to get some more objective opinions what's worth doing as opposed to starting all over with a different piano. I've been thinking maybe I should contact somebody named Paul Marciano who is the official historian of M&H or something like that, and see if he can give me the lowdown whether this piano is worth trying to bring to glory, but I don't know if I'd get anything really practical out of that or not -- last time I wrote the company to inquire about this, they just told me where I could go to see how wonderful their pianos are now. Or maybe it would tell a lot to go and play a new one, plus some other good uprights, and form an impression from there? Does the quality of the sound compared to other pianos tell you much before you've done much to fix up a piano? All input appreciated. If it would help, I can take some digital pictures and post them. Best regards, Trent Lesher I-----Original Message----- From: Kevin E. Ramsey [mailto:kevin.e.ramsey@cox.net] Sent: Wed 2/4/2004 7:30 AM To: Pianotech Cc: Subject: Re: ga-1 Yes, the GA-1E is Yamaha's new little price-point piano. This is the one that has plain wire going all the way down to B2, which in a piano that size gives you some real problems tuning. B2 and the next few notes sound like rubber bands, and it's frankly hard to find a good place to put those notes. For that reason I usually recommend a Kawai grand if they're looking for a piano that small. I'm surprised Yamaha designed and built this piano, it's not like them. Kevin. ----- Original Message ----- From: Farrell <mailto:mfarrel2@tampabay.rr.com> To: Pianotech <mailto:pianotech@ptg.org> Sent: Wednesday, February 04, 2004 2:59 AM Subject: Re: ga-1 I've heard of the GH-1 as the low-end heapy-cheapy Yamaha, but am not familiar with the GA-1. Is the GA-1 the new and improved low-end heapy-cheapy Yamaha, or did they simply find a way to make their low-end heapy-cheapy Yamaha even more cheaply? Is it a little five-footer? Terry Farrell EVEN MORE IMPORTANT NOTICE: Never mind the message below. I use this e-mail account for personal e-mail even when I'm not at work, but this message is intended for law-client-related communications, and the computer people at the law firm where I work seem to have made it impossible to keep it from being added to one's e-mails, otherwise I would turn it off and it would not appear below. For purposes of this message it may be considered as meaningless, random clutter. Piano tuners, technicians, rebuilders, makers, designers, scientists, craftsmen, artisans, musicians, engineers, enthusiasts and friends need not trouble themselves. Despite what the notice says, you are hereby notified of nothing (except that you are hereby notified of nothing). ****** IMPORTANT NOTICE ****** This e-mail, and any attachments hereto, is intended only for use by the addressee(s) named herein and may contain legally privileged and/or confidential information. If you are not the intended recipient of this e-mail, you are hereby notified that any dissemination, distribution or copying of this e-mail, and any attachments hereto, is strictly prohibited. If you have received this e-mail in error, please immediately notify me at (312) 207-1000 and permanently delete the original and any copy of any e-mail and any printout thereof.
This PTG archive page provided courtesy of Moy Piano Service, LLC