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Great and informative post, Barbara. It was enjoyable to read, and it
certainly helps those of us who may find ourselves facing a big unknown in the
not-too-far future.
Congratulations on your success!
Dave Stahl
In a message dated 5/2/05 2:20:14 PM Pacific Daylight Time,
piano57@flash.net writes:
Hi all,
There's nothing new here for the experienced rebuilders, but others might
learn a bit from my "journey." I've been a tech since 1982, have lots of
service, repair, voicing, concert & recording prep experience, but had never
ventured much into the world of action rebuilding. So, what the heck, after a
nice, long maternity leave, I started off with a D located in a huge
auditorium. Probably not where most folks start off (and I certainly wouldn't
recommend it!), but once I was satisfied with the actual rebuilding part--like,
hanging the hammers (the biggest challenge for me) the rest was my cup of tea.
In the beginning--a 1975 Steinway D, poorly rebuilt about 10 years ago.
There were a number of problems.
1. The administration expected the piano to fill (without amplification) an
acoustically dead hall that seats nearly 3500.
2. Because of this expectation, the hammers were voiced like granite.
Because they were voiced like granite the front duplex of
the lower treble had been muted.
3. The knuckle mounting distance was around 15 mm.
4. The hammers were too heavy.
5. The combination of the knuckle mounting distance, heavy hammers and
sluggish action centers made for an especially
heavy touch.
Last spring I had been called in as a consultant (you know, an expert that
lives at least 50 miles away--though I only live 40 miles away). I wrote up a
report that recommended rebuilding or replacement and gave some other
suggestions on piano care.
Last fall I was asked to take on the tuning duties at the auditorium. "Not
unless I can make the piano sound and play better!" I replied. I was on my
way.....
Here's what I did:
First I needed to determine whether or not I could use the existing hammers.
They were barely worn Steinway hammers, but *seriously* hardened. I have
had a lot of experience working with over-hardened hammers (it seems like all
I ever work on are over-lacquered hammers) and many folks would groan at my
method of softening them, but, it works very well for me. After giving an
initial voicing, I decided, yes, I could use them. That first voicing proved
that I could remove the muting material from the treble front duplex.
Immediately there was more power.
Next, I knew I needed to make a change with the knuckle mounting distance.
I was tempted to use the Kaplan knuckle moving jig, but then there were local
grumblings made about using Genuine New York Steinway parts. There was a
definite political aspect to this job, so going with Genuine New York was
preferable.
After changing out the hammer shanks for Steinway shanks with 17mm knuckle
mounting distance and replacing the wippens, the down weights dropped
significantly, but it still wasn't good enough--especially in the treble. At this
point the treble weighed off a *lot* higher than the bass---that was sort of
special. Keep in mind that I had not yet done a significant hammer shaping
(or whatever you like to call it)--just a minor one when I was testing the
voicing.
At this point, with new wippens, new shanks and the old hammers, I had my
first chance to tune and play the piano in the auditorium (not in the basement
where the piano resides). Oh my, that treble "knock" reached all the way
down into the high tenor section--every time I tuned a note, I felt like I was
getting whacked by a stick. Of course, I realize part of that knock was due
to some hall acoustics, but it was one of the obvious clues about changing
the hammer weight.
Next, I tested for hammer weight (actually SW) in regards to tone. I simply
took the hammer assemblies of notes from above (some a fifth, some even an
octave) and installed them down in the scale (yes, one has to re-regulate).
An important detail to remember is the piano already had an *even* voicing on
it. The tone blossomed on those notes (with the lighter hammers) and the
touch weight was getting more reasonable. It was a great way to get an idea of
what hammer weight to shoot for because my ear was the judge. I had thought
that with the initial voicing that the tone color progression from soft to
loud was good, but it was *nothing* compared to the lighter, or should I say,
hammers of a more appropriate weight.
After "sculpting" the hammers and doing the best regulation (including
re-balancing the keys) and the absolute best voicing I've ever done in my life,
etc., the piano sounded great (just my opinion)--I thought it was especially
amazing because these were the same hammers that had produced such ugly sounds
earlier. Don't get the idea that the voicing was accomplished in a couple
sittings, though! Now it can growl, sing sweetly and play just above a
whisper.
I was under the impression that the auditorium management had agreed that
the piano would always be amplified, so I thought all I had to do was make this
piano into a well regulated, musical instrument. The piano's first
(serious) major performance was last Friday night, with the Illinois Symphony
Orchestra (professional provincial group) with Yakov Kasman (silver medallist, Van
Cliburn competition '97) playing the Rachmaninov Rhapsody on a theme of
Paganini.
It turned out that the orchestra refused amplification and I was worried the
piano wouldn't carry the house when accompanied by a full orchestra.
But---it did! It was a sweet success, and I received several compliments--the best
one from a pianist I know who always speaks exactly what's on her mind, "The
piano sounded fabulous------the nuances!" I also had compliments from
members of the orchestra. That was the big pay-off for me (well, I liked the
money, too.).
I learned an incredible amount on this job. I had posed the question a year
ago last spring on this list about whether or not bigger hammers were better
for projection in a big place like this. I can answer that now. No, they
have to be juuuuuust right (like Goldilocks and the three little bears). I
even discovered that they don't have to be voiced like granite to carry (at
least in this hall). So many of you helped me, whether you know it or not.
Thanks to those of you with whom I had private e-mail exchanges. It was
amazing--several times when I would have a question, someone on the list would
oblige me and ask that certain something I needed to know. I couldn't have done
it without you.
If there is music to describe my adventure, I would say it's Rossini's
Overture to La Cenerentola. Go have a listen--the tentative beginning, the
building crescendo and the joyous end.
Again, many thanks to all of you,
Barbara Richmond, RPT
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