Yamaha CFIII Voicing

[David Ilvedson]

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Another words deep needling in the low shoulders...

David I.
  ----- Original Message -----=20
  From: Isaac OLEG=20
  To: College and University Technicians=20
  Sent: Friday, March 21, 2003 3:07 PM
  Subject: RE: Yamaha CFIII Voicing


  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 r=E9paration de pianos.

  PianoTech
  17 rue de Choisy
  94400 VITRY sur SEINE
  FRANCE
  tel : 033 01 47 18 06 98
  fax : 033 01 47 18 06 90
  cell: 06 60 42 58 77=20
    -----Message d'origine-----
    De : caut-bounces@ptg.org [mailto:caut-bounces@ptg.org]De la part de =
Tom Merrill
    Envoy=E9 : vendredi 21 mars 2003 17:32
    =C0 : 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). =20

    Thanks for your ideas.

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