[CAUT] Boston pianos

[Cramer@BrandonU.CA]

I won't speak for Ron on this Ric, but recall some Kawai 
(Boston) uprights having "wider" ribs than typical, and 
having a "flat" profile (as in square corners), rather than 
radiused.

If you wanted to create a stiffer than normal soundboard 
(higher impedence), this would (IMHO) be a great place to 
start.

Though you didn't mention "how" you voiced this instrument, 
I suspect you chose to be "content" with the gains of deep-
shoulder needling, and avoided "trying to create something 
that isn't there" with chemical hardeners, etc. (Oui?)    

I've found that approach works well with "these" 
instruments, IOW "allow the piano to be musical, within 
it's natural limitations." (dynamic range) 

In this context, I'm sure you've provided quite an 
enjoyable piano, and really all the instrument it needs to 
be.

BTW, on occassion after tuning, I've left the tiny lid 
prop "up" so the player could experience a bit more of the 
range and "presence" the piano was capable of. 

best regards,
Mark Cramer,
Brandon University

 

> Hi folkens.
> 
> I have had some time to work more with this 126 upright 
we have and am 
> begining to wonder whether or not the instrument was 
designed purposely 
> to be just a bit on the quite side.  After a couple 
voicing sessions I 
> think I have the thing figured out and have gotten a very 
pleasing voice 
> out of the instrument. And, if you have the thing in an 
open room the 
> instrument projects very nicely from the back side. 
Sitting at the piano 
> however one simply must open the top a bit unless one 
wants a very 
> subdued sound.  I got to thinking about the pros and cons 
of this.  
> Actually... there are some distinct advantages here.  
Most often 
> uprights are used in situations where they simply do not 
need much 
> power.  In fact I think you could argue that a quiet 
piano is just the 
> thing for many situations.  In such cases the Boston, 
with a closed top 
> and back against a wall would fit the bill.  Opening the 
top yeilds a 
> rather dramatic increase in sound.  So much so that I 
have a hard time 
> thinking they didnt do this on purpose... I  mean they 
must have at 
> least noticed this affect by now and they've had all 
kinds of oportunity 
> to change things...and they havent. 
> 
> Finnally... having the instrument in the open  and 
listening from an 
> audience perspective with the soundboard angled slightly 
towards the 
> audience... the instrument sounded quite wonderful. 
Delightful 
> actually.  Plenty of power and a very nice balance... a 
pretty voice I'd 
> have to say.  By no means overpowering to be sure. But 
all in all... I 
> think I kind of like them. 
> 
> Still.... I would like just a bit more sound out front 
without having to 
> open the top.  A different kind of front panel might be 
an answer....
> 
> Anyways... I am still anxious to hear what Ron Overs has 
to say about 
> the reasoning behind his last post on the subject. How 
does a soundboard 
> get designed purposely to be quiet, yet maintaining a 
pleasing balance ?
> 
> Cheers
> RicB
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