---------------------- multipart/alternative attachment Greetings All, Steam voicing should be reserved for those pianos where there is no budget to do the job correctly, or there is little justification to spend a lot of money. Light steaming of practice room pianos, is a way to keep your sanity in a 7 X 7ft room. If you dry iron after the steam, you will rarely have a bumpy mess David. It will also even the tone out quite a bit. Very deep needling ( 15mm ) at the 9 o'clock area, right down to the molding, with a single needle, will tame many of those very hard hammers. This will build some good elasticity into the shoulders. Regards Roger At 06:44 PM 3/6/2005, you wrote: >I've tried it also and I'm not that happy with it. I'm going to stick to >needles. For me, steaming gave me unlevel strike surface which then had >to deal with, If I had done any needling prior to steaming...god what a >bumpy mess...I've still got it in the bag of tricks but only for rock hammers. > >David Ilvedson > > > > > >---------- >Original message >From: Michael Gamble >To: Jerry Cohen >Received: Sun, 6 Mar 2005 17:07:52 -0000 >Subject: Re: Modern Tone II, the Return of the Question > >Hello Jerry, Alan and List >Let us not forget Roger Jolly's wonderful steam approach. He sent me a >copy of his treatise on the subject and I've tried it. It works. >Needle-less voicing... worth a thought? Non? >Michael G.(UK) >----- Original Message ----- >From: <mailto:emailforjc@yahoo.com>Jerry Cohen >To: <mailto:pianotech@ptg.org>'Pianotech' >Sent: Sunday, March 06, 2005 3:28 PM >Subject: RE: Modern Tone II, the Return of the Question > > > > > >-----Original Message----- >From: <mailto:pianotech-bounces@ptg.org>pianotech-bounces@ptg.org >[mailto:pianotech-bounces@ptg.org] On Behalf Of Alan >Sent: Sunday, March 06, 2005 1:08 AM >To: 'Pianotech' >Subject: RE: Modern Tone II, the Return of the Question > > > > > >P.S. Part of my pursuit of this at this time is a desire to rescue an >area Methodist church from the shrill, busy, ultra-bright, piercing, >stident, trident (gummed up) sound of the little Samick SG-172 grand they >bought. I'm pretty sure it's going to start with some serious string >seating, bridge pin stabilization, and regulation--followed by a session >in the back room with those hammers ... under a bright light ... with a >rubber hose and brass knuckles, to soften them up. I don't THINK I could >make it worse, even with what I know, now. And, no, there are no other >guild techs within two hours of here and no local yokels I'd want to >invite to help. I am alllllll aloooooooone here in the elephant ivory >graveyard. > > > > > >Alan, > > > >I think the Samick is an excellent piano to start learning with. I did >some voicing on one a few weeks ago. It was also shrill and painful to >tune. The hammers are actually decent quality, and with needling, you can >create nice elasticity in the shoulders, and create whatever you want as >you approach the top. > > > >Since you are just starting, my advice is to make some improvement in some >section. If you try to do everything, you will get frustrated and lose >perspective. For example, even though the whole piano sounds shrill, try >to find one octave that is a little worse (or a lot worse) than the rest. >Work only on that section, and try to make it blend perfectly with the >rest of the piano. By doing this you will be developing your skills at not >only tone building, but also creating an even line. After you have >finished that section, pat yourself on the back, and leave the piano for >maybe a week or two. Then you can start working on other sections. If you >work on the whole piano at once, you can easily lose your reference. > > > >We met briefly during Don Mannino's voicing class in Sacramento. While he >spent more time on pre-voicing, he really did demonstrate most of the >principles of voicing. I suggest starting with the shoulders, trying to >feel the elasticity being created. Work on one note at a time. Make a few >stabs, front and rear, and listen to the result. The difference should be >heard in the mF and F levels. Listen very carefully. When you hear a >difference, move to the next note, even if you haven't finished the first >one. Remember, the needling tool works a lot better than the unneedling >tool! Eventually you can start working up to the crown, but stay away from >the strike point for now. Use this area to create a nice mp and p sound. >The final result should be nice tone which has variety from pp to F. At FF >it should start to crash. Then you have created the full dynamic range of >the piano. > > > >It was good to meet you last month, however briefly, and I hope this helps. > > > >Jerry Cohen > >NJ Chapter > > > > > > >-- >No virus found in this outgoing message. >Checked by AVG Anti-Virus. >Version: 7.0.308 / Virus Database: 266.5.7 - Release Date: 03/01/2005 ---------------------- multipart/alternative attachment An HTML attachment was scrubbed... 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