Yamaha CFIII Voicing

[Isaac OLEG]

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Hello,

In too brilliant rooms it is not easy to voice down, probably impossible in
fact.

If the lower part of the hammer is packed down ad rigid because of the use
and the dryness of the air you should eventually treat them back to life as
if they were new.

in 1987 I am not sure that CFIII hammers where as good as the actual ones,
that are clearly on the mellow side by my standards, but at this stage , the
C7 is probably mellower.


Nowadays high shoulder needling , if the top of the hammer is not lively,
product not really long lasting results (if needled too softly too) . On the
other hand, even if you bring back some energy there, on old hammers, your
job will not hold as much as on recent ones.

It is usual to bring back some tension from below before treating the high
zones, sometime, you eventually realize that the top have been too much
needled, and that you may shave a bit to keep some energy active there.

If the voicing don't last it is because only the higher regions of the
hammer are involved in the tone making, allowing the hammer to move more
deep help to keep the top active longer, because it does not compress on the
low shoulders as much as it is more suspended.

Clear as  ?

Sorry its late.

Best regards.

Isaac OLEG




Isaac OLEG

Entretien et réparation de pianos.

PianoTech
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  -----Message d'origine-----
  De : caut-bounces@ptg.org [mailto:caut-bounces@ptg.org]De la part de Tom
Merrill
  Envoyé : vendredi 21 mars 2003 17:32
  À : caut@ptg.org
  Objet : Yamaha CFIII Voicing


  List:
  I am the contract tech at Mesa State College in Grand Junction, CO. We
have a new 280 seat recital hall that has a very bright lively acoustic and
is easily overdriven by vocals and instrumentals.  I'm having a "dickens" of
a time keeping the Yamaha CFIII (circa 1987) with Yamaha hammers voiced down
fairly mellow yet articulate to please the pianists.  They want lots of
color with projection, but not too loud.  The piano gets used for solos and
accompanying small ensembles and vocals.

  I took every voicing class and voicing tutoring in Chicago last summer and
the Little Red School House last fall, but lack the 30 years experience
demanded by the situation!!

  I can get the level of brightness where we like it for a short period of
time by high shoulder needling and a little sugarcoating on the crown.  But
a week or two later, the felt packs down and it gets too bright again.  I've
read in the archives that this piano has a fairly heavy SB structure to
compensate for the softer woods in the rim and needs a fairly robust
(w)hammer to get things moving.  It seems to me that we may have the wrong
instrument and/or hammers for the application and that if we want a
delicate, articulate colorful piano, we oughta buy a Steinway that sounds
that way to begin with.  Too bad the State of Colorado doesn't win its own
lottery....

  Is anyone else successful in what I am trying to do and could share some
tips?  I've thought about putting on a set of Isaac Cadenzas.  Is this a
good idea? The other piano in the room for duets is a Yamaha C7 (circa
2000).

  Thanks for your ideas.

  Tom Merrill
  Grand Junction, CO (where minimum wage is a high paying job)

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