Low Inertia

[erwinspiano at aol.com]

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?????????????? Thanks?Jim
? I've enjoyed?your perspective & journey you describe.?? 
???? I truly Love the sound of a good...no great Stwy D all dressed up with somewhere to go but I equally Love the?Type of sound you are trying to achieve for your own ears assuming I know what I think it is. I too have been on that trail many years & I would describe the sound I find most interesting as sweet but intensely colored. This does not mean it is a sound with out power, but more like power with out noise, or Pure tone.? I?dislike intensely?a predominate?slap or impact sound which is why I most frequently but not always?Avoid the more densified hammers. I want the sound to illicit a strong fundamental from the get go & hammers pressed to a medium stiffness have an innate ability & will?demonstrate?a strongly present fundamental right out of the box. This tell me the felt is appropriately pressed & the felt is doing the work.
? The other element which you mention?is the soundboard structure it self. As I become more exposed to the intriguing sounds of the redesigned belly's?we've all? heard about & built by colleagues the more I realize that this is the other half of the equation. 
?? The Stwy B?Dennis I built & took to the rebuilders gallery in Anaheim now resides in my living room.?? A modest but recently renovated acoustic space. This piano sounds so sweet in this room & yet it has real power. It's an ethereal sound. & when the shift is on the sound goes into a lower gear which is entirely a dark sweet whisper . I first heard this mysteriously new sound by the pianist who played it in?our class with a Ravel piece.?We often over look the actual acoustic space the instrument will reside in. 
? Any way I think maybe both ends of the tonal spectrum can be achieved in the very same piano?& ?a very satisfying way & without much compromise. ?I will admit that I want this action a bit lighter & due to horrible original manufacturing errors? the stack needs to move forward about 2 mm as well as capstan...again.? this will also correct the still small strike line issue it has IMO...be it ever so small. 
? As Ron N. & Ron O, Del? & many others have said it's never just one thing at work, & it's not... usually.? I was reading Sam Wolfendons book written in 1916 earlier?today on toning/voicing & he said some very similar things as you all. Page 151...I think.
? Above is the perhaps odd shaped (?to some) B board with a 15 rib fanned scale instead of the usual?13, & large cut-off. I point this out just to say...it makes a real difference in so many ways &?Anybody on list who is in my area has an open invitation to come ?play & hear something perhaps different than what one is accustomed to.
?I finally have??my own piano I'm entranced by
? Kindest regards
? Dale Erwin




So yes, I would like to see the sound as well as touch that we consider appropriate to different music's be reflected in differing piano designs. For instance, I have heard pianos like I forget which one of Del's small Walter grands, deprecatingly dismissed as "too sweet"...completely missing the point that the piano was designed for a small room sized venues. Same goes for the older null grands..."too sweet", or "emasculated"...but wonderfully 
appropriate for many styles of music and certain venues. I wonder how much of 
this discussion might describe what Gould loved about his "beloved null"? Ed, back before I knew what to focus my attention when playing pianos, I had the good fortune to play the dreaded "Brown" action in good repair. And I loved it. I would like to sit down with one of them again with the perspective I now have. Jim--Jim null www.grandpianosolutions.com (under construction) Shirley, MA (978) 425-9026
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