I'm not sure about that...I've come across quite a few Consert Reserve pianos in their 2nd life at universities or wherever. In seems to me they do their best to remove the original serial # or they get it before it has a serial number imprinted. Anyone else notice this... David Ilvedson, RPT Pacifica, CA 94044 ----- Original message ---------------------------------------- From: "Tom Servinsky" <tompiano at bellsouth.net> To: pianotech at ptg.org Received: 6/28/2009 3:06:27 AM Subject: Re: [pianotech] Simon and Garfunkel Piano >Brian, >Pianos which are used on tour are subject to lot of variants in temperature, >humidity, and most importantly,ability of techs. These pianos might end up in areas >where there is no highly skilled tech available, yet if strings break or the piano had >the move from hell, whoever is on call will be putting his/her little signature on what >was once a very nice instrument. After a while on tour, most pianos will end up with >a collection of pretty interesting repairs. Some offensive, some rather creative. >Granted there are enough of bad examples where the piano did not have the >correct attention from the onslaught of the tour. Things will generally go down hill >from that point on. >Tis the reason some artists (with good budgets to work with) choose to have a tech >on board with them throughout the tour. At least there is the knowing that >consistency of work will be remain stabile throughout the tour. >Tom Servinsky > ----- Original Message ----- > From: ChicagoTuner at aol.com > To: pianotech at ptg.org > Sent: Saturday, June 27, 2009 10:25 PM > Subject: Re: [pianotech] Simon and Garfunkel Piano > The strange serial number sounds like a Concert Reserve number, meaning CB 81. I >believe that removing the keyslip would have revealed a six digit number that you >are used to. Also, on the keybed near the left-hand side. Steinways need to be >regulated and voiced, just like any other concert instrument. This piano has probably >seen a lot of use and not enough prep. The usual problem of no one wants to pick >up the bill for it. Improper hammer alignment, in particular, could be the result of >long hours on its side bouncing up and down on a truck or on a plane. > And, if this is a recent episode, would someone explain to me how a piano is pulling >sharp, during the winter, (in Australia) my experience is they fall flat in the drier air >or, is it that humid near the ocean? I live near Lake Michigan and during the winter, >the soundboards flatten out from the dryness, in spite of the presence of so much >water. > Michael Gutowski > Chicago > In a message dated 6/26/2009 9:56:08 P.M. Central Daylight Time, >pianocare2 at bigpond.com writes: > 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. > > Hi Ron > I have thought about your comments over the last few days and although my first >and gut instinct was to do nothing, I have now decided to change my mind. I >consider your comments to be unprofessional, and it had nothing to do with the >subject of key levelling. I don’t believe that Chugg Productions or the American >crew would be happy with your post. > > For the record, I tuned the piano for S&G for the Wednesday and Thursday >concerts in Brisbane. The piano arrived on Wednesday from New Zealand, and it >was not on pitch, nor was there any resemblance of it being in tune. I thought to >myself that the cargo doors must have been left open on the B747. The piano was >tuned Wednesday lunchtime. At 1900 I got back on the stage for the tuning. It was >about 440.5 and again had no musicality in the tuning. I went through the tuning >twice and I delayed the doors until 1945, in which 10 000 people were trying to get >to their seat by 2000hrs. I was told by the American crew that the piano had to be >perfect. And no excuses… I did the best I could considering the circumstances and >the air conditioning duct blowing directly on the piano. On Thursday night the piano >was 441hz. So perhaps the tuning instability was due to the travel and climate. I >stayed for the show on Thursday, and although I did the best I could, I was not >entirely happy with my tuning. However the client, that is the people who payed me >were. The American crew were also happy, and I got a big thank you from the >musical director. They had fun with “appearing on stage tonight.. Brian Wilson, >Paul Simon and Art Garfunkelâ€. At the end of the Brisbane show, the show was >packed up and moved to Sydney via truck. Brisbane was having its coldest night of >the year when the show finished, and I might consider that to be part of the tuning >problems. > I hope my tuning met with some approval with you, but I think you should be lucky >you didn’t hear the piano when it first arrived. > > Regards > Brian > > > >------------------------------------------------------------------------------ > Make your summer sizzle with fast and easy recipes for the grill.
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