Hi Keith, others,
The point is, there is such variety, does this discussion have
merit? Basically no one has a clear idea of what Steinway really is
because there is such a variety. So to say we should or shouldn't do
this or that, is absurd. I agree, to build the best piano we know
how would be the only logical answer.
Keith
I have to disagree here. At least with the direction I believe this is
going in. This bit about variance is in my mind taken well far out of
perspective. Its true that the instruments vary, and in some cases quite
widely with respect to touch and tone response, but the overall color of
the Steinway sound is still quite identifiable. That is to say I have
yet to hear any Steinway that has the sound I've come to expect from a
Czceh grand, or a Sauter, or a Yamaha. These things are built far to
deeply into the basics of the design, the scale, rim and SB as a
parallel discussion here touches on. Nor do I find the much similarity
in action response either isolated from the instrument or in combination
seen as a whole. Yamaha uses for example 57-59 grams down weight and at
least 25 grams upweight as standard specs to use just one very obvious
example.
As to adhering to the basic philosophy of matching low tension scales to
light SB designs that David Love touches on. I have to admit this is an
interesting tangent to the <<authenticity>> question. But it relies on
the assumption that one can create the same overall panel using both
purely CC methods and RC&S methods, the only difference being in the
realm of reliability and durability. I don't see this has been
established and through all the discussions through the years can not
see a coherent logic that holds up in the argumentation along this line.
The CC board creates vary different stresses on the panel then the RC&S
board, and these differences are exasperated by each boards response to
climate changes. You have a positive spring with regard to the ribs on
the one hand that by and large only gets increased until panel
compression fails, (another point whose importance in the reliability
question I see as overstated) and a spring that goes negative the
minute panel compression increases. This is often stated another way...
to paraphrase... "CC boards rely on compression for their crown and the
ribs resist this crowning". If it can indeed be shown clearly that none
of this makes any difference to anything except how the board holds up
and how predictable the results are... then I'll be delighted to agree
further with Davids reasoning. He makes a very good point in respect to
this authenticity question.
I'll be the first to raise my moral finger in the air when significant
design changes are imparted. It is my view these need to be made clear
on an instrument in the form of some marking by the rebuilder. And I
think the rebuilder should be the first to want to take credit for
his/her modifications as well. But if a rebuilder uses for all
practical purposes the exact same design and procedural methods that the
manufacturer does... then I have no problems with an independent
rebuilder doing the word visa vi Steinway or any other factory, and this
is where my sympathies with such factories concerns with regards to
authenticity issue stops. I agree in whole with the standpoint that a
highly skilled rebuilder / designer has the potential for a higher
standard of workmanship then any factory can. Tho I would not go so far
as to refer to production line workers as lackeys. These guys are also
very skilled... but working in a factory situation with several levels
of bosses breathing down your neck to keep you on their time/cost
effectiveness schedules is a very different working condition then a one
or two man shop in Bumfrog Idaho.
Cheers
RicB
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