Voicing of high bass on Steinway L

[Erwinspiano at aol.com]

Hey John
   The upper bass register of the Steinway L was once scaled at  70% of its 
breaking strength which IMO helped the power a tonal crossover at the  break.  
Don't know what the current scaling is except I don't care for the  a strings 
they use. The other problem IMO is that the tensions on notes 27-28-29  are 
too low for a good transition.  Replacing them with 3 or 4  unisons of bichords 
improves this tremendously. 
   Also If the bass strings have been replaced, most likely  the string maker 
did not duplicate this fairly high tension in notes 22 -26  & I find the 
lower tensions in this area really make for a substandard  sounding high bass.  
Arledge is doing in good job in the tension  dept. & will accomadate whatever 
you wish.
   Other makers may or may not do this upon you  request. The L monochords 
are also a horrible trashy sound as they are short  & single wrapped and lack 
fundamental.  A double wrapped string will  open up the bottom end of the piano 
considerably.  Talk about being stuck  in the past, I mean mud. Oops . JMO 
coming thru again.
  By the way what kind of hammers are we talking about.  This is  loads to do 
with it. 
  Dale

Hello,,

I know the Steinway L's high bass section is notorious  for being  
problematic, but I am looking for advice from someone who  has had  
success in getting an excellent transition from the B to the  Bb -  
i.e. retaining the "buzz" from the C28 and B27 through to the  Bb26  
and A25 while maintaining a decent tone and moderate  attack.

I almost gave up hope of getting the sound, but just today I  heard an  
old Steinway L that had the *exact* the tone I was looking  for: the  
highest notes matched the low tenor extremely well, I was  very  
surprised just how well. A full tone with some (good) buzz.  I'm  
fairly certain they were original strings.

So, I'm  assuming there must be someone out there who knows what I'm  
talking  about and has some advice for voicing the hammer to get this  
tone  (as best as is possible, at least). For those who are familiar  
with  that not-so-pleasant sound that is so often in that Bb26 on L's  
and  sometimes the A25, I figured they may know a general approach to   
relieving this sound.

Thanks!

- John


 
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