[CAUT] Steinway "sound"

[Anne Acker]

I am enjoying this very much, too, and am glad I've reactivated being on this list. 


Room acoustics are SO important. A few years ago, I was called to voice a beautiful Pramberger (the real thing, not the current creatures) that Joe himself specifically designed for a church in Savannah. While I played and tested and listened, getting a sense of the instrument and the space...I knew something was odd with the space. I looked up and around and could see why I was hearing such odd things with the current placement. 


I went to find the pastor and asked if they would consider moving the piano to the other side of the room. He replied, "funny you should say that, Joe told us to put it on that other side, but the people who arrange things in the church moved it to where it is now." 


Certain frequencies were being "grabbed and tossed" about...making the low tenor area sound wild and out of balance, which is what had been bothering the music director. I moved the piano to the other side. It went away. 


Of course, they moved it back. 


As to your R.H. comment Ed S., we all know how different pianos sound in dry vs. humid rooms. How do we explain the importance of consistency in R.H. if consistency in sound is desired? 


AA 

----- Original Message ----- 
From: "Ed Sutton" <ed440 at mindspring.com> 
To: caut at ptg.org 
Sent: Thursday, February 17, 2011 10:25:34 PM 
Subject: Re: [CAUT] Steinway "sound" 


This has been a remarkable discussion. 
The question "What is a good piano?" has so many factors. 
We have hardly discussed architecture and humidity, to mention two other issues. 
In a recital hall where I have tuned, all the pianos sound dull. One day I listened as a visiting violinist tested the stage, walking around and finally finding his performance place at the edge of the stage, in front of the proscenium, where, unfortunately, the pianos can't go. Incredible efforts have gone into voicing the pianos, which do have problems, I think, but we won't know for sure on that stage. 
And what are the effects of 20% relative humidity on a compression crowned soundboard? 
Ed S. 



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