Fred writes: << I hear what they are saying, and hesitate to reject it outright, but I just can't seem to digest it. Doesn't compute. Doesn't fit with my experience. On the other hand, the C & A department in NYC is dealing with, and satisfying, the cream of the cream pianists, day after day, year after year. Who am I to argue? It's a quandary. >> It is a very different venue that the C&A dept. is working in. Those pianos don't live in practise rooms, or on a stage where they are played for hours everyday. Those pianos get new hammers when they can't voice the old ones,etc. In the everyday world, the saturated hammer becomes glassy too quickly, and if continually voiced and filed and voiced and filed, have a very short life it they are to possess any tone to speak of. The best sounding STeinway hammers I have seen were lacquered in from the shoulders and allowed to be played in for the final brilliance. Making them sound perfect at the outset usually yields a short life of tonal range. REgards, Ed Foote RPT www.uk-piano.org/edfoote/ www.uk-piano.org/edfoote/well_tempered_piano.html <A HREF="http://artists.mp3s.com/artists/399/six_degrees_of_tonality.html"> MP3.com: Six Degrees of Tonality</A>
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