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I pretend too that incorrect regulation, that rob control to the pianist, is
turning the hammers hard too fast, as it is often that piano stop to break
strings after regulation.
Lack of power and control due to the regulation will make the pianist play
more aggressively on the instrument, may be because they are frustrated, may
be because they try to obtain more tone , but for sure even a worn
piano/worn hammers, if perfectly regulated what is not so evident) ,
particularly with the good aftertouch and the most controllable sequence
between letoff/drop catch, will keep some musical pretension and be useable
way more than, the same with good hammers and not so good regulation.
Voicing is also a much more self evident task when regulation gives the most
efficient energy transfer.
When beginning to understand voicing methods, we tend to focus on the hammer
, when it is often necessary to touch up the regulation to have a correct
picture.
I noticed a tenancy to provide a touch with a very strong aftertouch
sensation, and a lot of stroke. While this percussive regulation is pleasing
much the jazz players, it oblige to needle more the hammers than necessary
if we want to have a mellow tone. The same result is obtained and last
longer with a keen and minimal aftertouch, and more roundness in the touch
of the keys.
Checking keys height and dip will help to ascertain what have been done, or
the state of compression of the action.
Adding a few mm on key height as too often done, will lighten the beginning
of the stroke, but then the hammer is not accelerated progressively, and
less control in tone is available.
Best Regards
Entretien et réparation 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
-----Message d'origine-----
De : caut-bounces@ptg.org [mailto:caut-bounces@ptg.org]De la part de Isaac
OLEG
Envoyé : samedi 22 mars 2003 09:43
À : David Ilvedson; Caut
Objet : RE: Yamaha CFIII Voicing
Yes , but where lies the difficulty is to ascertain the state of the
internal of the hammer before needling. One more strong jab in the heart of
the hammer (the original spring created while the first needling was done )
will unleash the other parts too much and compromise the correct
transmission of the resiliency.
I noticed that is a matter of imagination, and recognize the absence of
tone power, while the brightness of the attack is often taken for power
that is too a matter of pinching the hammer to recognize where hardness lies
.
When string mating problems begin to be noticed more and more that is
often the sign of lack of basic power in the hammer.
That is why it is convenient to have some reserve, and try to work always
on a tensioned material.
Happily , if the tone is bad, most often we can find spots of hard felt,
responsive for that, and when untie the knots, their hardness goes around
(above reverently) , bringing back some energy.
Best Regards
Isaac OLEG
Entretien et réparation 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
-----Message d'origine-----
De : David Ilvedson [mailto:ilvey@sbcglobal.net]
Envoyé : samedi 22 mars 2003 00:14
À : oleg-i@wanadoo.fr; College and University Technicians
Objet : Re: Yamaha CFIII Voicing
Another words deep needling in the low shoulders...
David I.
----- Original Message -----
From: Isaac OLEG
To: College and University Technicians
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 réparation 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
-----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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