[CAUT] Fw: mystery center pinning

[Fred Sturm]

--On Saturday, December 4, 2004 5:47 PM -0700 Nichols <nicho@zianet.com> 
wrote:

> It seems like that almost all of the regulating classes I've ever been to
> have one common goal. Control. Fly-away is just... well.... like the
> difference between pool and air hockey. Mind you, when I was selling
> Baldwins, I HAD to know all the rational for "heavy" touch. But... I
> believe most of them myself. I've seen too many students raised on
> spinets or fly-away imports wind up with a totally compressed dynamic
> range. Kind of like standard FM broadcasts, and the signal compressors we
> used to use for live rock gigs.
>
> On the other hand, Horace..... there's a terrific concert pianist that we
> both know who has informed me that she can "adapt" to fly-away much
> easier than to heavy. Her "C" was at about 72g when I first met it. Go
> figure.
>
> Personally, even without wobble, I find there to be a tonal sacrifice
> with more than 6 or 7 swings, or less than 4 grams. Whichever. Especially
> in the lower range. Super-loose also makes it difficult for me to get the
> spring the way I like it.  My vote is still for 4-6 swings, no more, all
> the way up through the killer octave. The top octave can fly a little, if
> everything else is happy. Makes "tinkling" a bit .... more... tinkle-y.
>
> JMHO,
> Later,
> Guy

	I have to say that my general impulse is with the 4gm + or -, 3 - 5 
swings, but I try to keep an open mind. Having worked with the low 
friction/high firmness in a conscious way, trying to adapt to it and accept 
it, I am finding that I really have no problem with it. Regulates okay (the 
heavier hammers and reduced ratio make that low friction work better) as 
long as you keep the tails scuffed on a regular basis.
	The proof is in the pudding, though: how does it feel and respond. Taking 
off my technician hat and putting on the pianist hat, I find I like it that 
way. Takes sensitivity and control, but, hey, you're supposed to have that 
if you aspire to being a real musician. I find it "very easy to play," 
assuming voicing is reliably even.
	I'm still on both sides of the fence, though, really. Just trying to work 
with what I am given rather than against it - treat a Steinway like a 
Steinway. Working against it definitely doesn't pay. BTW, I also have had 
the experience (more than once) of repinning a set of "teflon II" shanks 
and finding the results rather puzzling. At one point I experimented 
removing centerpins, doing nothing, and ramming them back through after a 
couple minutes. Temporarily took the friction up to 4 gm or so. A week 
later it was back to 1 - 2. My approach now is just to deal with the low 
friction: tighter tolerances for regulation for the most part (minimal 
aftertouch and drop, minimum check distance). People seem to be happy, so 
why shouldn't I be as well?
Regards,
Fred Sturm
University of New Mexico