At 4:31 PM -0500 23/6/09, Paul T Williams wrote:
>So... How did they feature the nastyness in the bass break on B's
>from the late 70's????
Because they are building them with the same inappropriately low
tension at F21, as was a feature of their design of a century ago.
> Why the hollow restroom sound on that F???
No amount of voicing will fix the problem. The problem will remain
systemic until the piano is re-scaled.
F21 at 145 cm speaking length with plain wire won't and can't work -
that's the problem (the model D has 183 cm at F21, which is shorter
than ideal but at least it works). A tenor bridge, from F21 to Bfl 26
inclusive, will iron out the problem. A better solution would be to
do a complete new design of the whole piano based on current best
practice, instead of relying on best practice from 1890 to 'carry the
can'.
Nossaman knows, anyone remember his B at Rochester? That's what is
needed. One of the current 'design-heads' should be at S&S designing
a new range of instruments, while their current 'design' team should
be put out to pasture tuning at the local dealership.
I tuned a late production New York model B (strange serial number,
just the numbers 81) for Simon and Garfunkel last night (last of
three concerts here in Sydney). All the usual problems re the break,
but the regulation was nothing short of a total disgrace. There was
nothing there in the way of hammer alignment or burning angle, and
the hammers were way too soft to develop a tonal palate suitable for
a performance instrument. Each day the tuning went sharp in the
tenor. I haven't seen a late New York B before, but it left me
underwhelmed.
Ron O.
--
OVERS PIANOS - SYDNEY
Grand Piano Manufacturers
_______________________
Web http://overspianos.com.au
mailto:ron at overspianos.com.au
_______________________
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