Jim: The other question I meant to ask is with respect to the experiences you had at the factory. Do you think the differences in the B’s were owing to differences in the bellies themselves or just differences in the amount of prep work given to the D’s over the B’s? Recently a batch of new B’s were delivered to Stanford and before they were dispersed to the various rooms around I had chance to go through them side by side. There were a lot more similarities than differences to me. Some differences could be accounted for by hammer density alone, you could tell. And some other differences were sectional, some killer octaves were better than others and there were a few odd clunker notes here and there but they seemed to be mostly termination problems. Tenor and bass sections were very much alike. I don’t think I sat down to any one of them and said, wow now that’s different, though I had my favorites. David Love www.davidlovepianos.com I’ve been in the selection room in NY and the tone was all over the place with Bs but not quite as much with Ds, in my opinion. What I was hinting at is our worn out question; don’t Ds in concert halls, as well as the Steinway C&A Ds have a certain characteristic tone that is “Steinway”? I agree with what you said below that we have the ability to reproduce it (last sentence below) but nearly all the rebuilds I’ve heard are not like Steinway. Nor do they try to be. That’s why (I think) Brent made his statements. Not in disrespect to anyone, but who might better duplicate the “Steinway sound” if there is such an animal, than Steinway? Now I’ll bow out and let all the retorts fly. <G> Best, Jim -------------- next part -------------- An HTML attachment was scrubbed... URL: <http://ptg.org/pipermail/caut.php/attachments/20110214/a3052228/attachment-0001.htm>
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