I think what I'm hearing again is, Perhaps, ok I said perhaps,...it is that many techs on the list have heard a lot about redesign and ya da ya da ya da yawn but very darn few have heard any up close and personal and so its just words and I feel sorry for ya'll. :) For myself the first one I ever heard was Ron Overs in Reno. But beyond that I first had to start building them for myself and see what the fuss was about. I wish the next rebuidlers gallery showcase would limit itself to just the world of redesign next time and then spend a great deal more time in the details in class and way more time in being able for everyone in that convention to be exposed to those piano sounds in a really good acoustic environment....thru out the event!! I do feel Rons frustration a bit but mine is more from the point of view that there are too few opportunity's to hear what it is we are trying to communicate, when the piano itself needs to do it for us. And it would be fantastic to have a number of instruments on stage at the same time. Same pianist playing each one. Then the meaning of tone color would probably not need to be explained. Nor the difference in sonority. You'd hear it. I will testify that hearing all the pianos in the gallery room was a dismal disappointment in Rochester as the room sucked the acoustic energy out of all the pianos including the D I brought. And it was humbly a very good ax. Terribly defeating hall. However, I heard each piano in a different room on a 20 by 20 dance hard wood dance floor (thanks to Rick Florence) and the tone and projection was amazing from each in a unique way. And all this in the usual dull and lifeless hotel dining type room In the case of Ron Ns B I was rather dumbfounded. It was so different. Never heard nothing like that before. And I took opportunity to stand a good distance from the piano during the performance. Say 30 ft or more, and the strength of the tone coming at me me was.....voluminous. The hair on my arms involuntarily stood up. My ears perked. It was a gorgeous ethereal experience. Power without noise. The musical possibilities were very broad. I heard things in his piano I'd not experienced before. I had other unique and satisfying and Inspiring experiences with the Overs, The Erwin and the Chris Robinson piano as well. Each different flavors but I think on that occasion and in all honesty I remember the Nossamans shocker as much as any. And this isn't a paid advertisement for Nossaman pianos...and Ron...... I'm not sucking up and I don't want anything. I'm just telling it how it was My point in going on about all this is that I was building some of these things prior to that in some iteration and even so it was a huge tonal exposure and learning event aurally. Many of us said that this brief moment in time, in that room, was the largest unique piano tonal pocket in the universe on that day. To simplify. If you've only ever tasted the $10.00 bottle of wine and then suddenly you're thrust into a $500 bottle. Oh My!!! The experience is surprising, enlightening, revolutionary & inspiring and , well...you just couldn't imagine wine tasting that good. And so it is with pianos that sound like that. Dale S. Erwin www.Erwinspiano.com You still don't seem to get it. The top end doesn't "level off". A broad spectrum, I think broader than is available with the standard borderline CC board, with a top end that doesn't degenerate into distorted garbage (color) at high attack levels, and a pianissimo that most folks wouldn't have thought possible is, I think, progress. > I've seen/heard that in Ron Overs' pianos, for > instance. (And I don't really mean to be addressing you, Ron N, > personally, as I have very little personal experience with your > instruments, and really don't have enough to go on to form a judgment). Yet this doesn't prevent you from making general condemnations of redesign. I noticed Ron O's piano(s) couldn't be over driven into garbage any more than mine could. I wonder if he's aware he's building sub standard instruments, not adequate to the artistic needs of top level professional pianists. I'm sure he would find this quite instructive. But then that wasn't a 9' instrument, either in Reno, or Rochester. Do all 9' pianos of all makes drive into chaos at the top end of the dynamic range? That would be news to me, and I'd like to see that demonstrated. I'd think an absolutely necessary "feature" such as this would be coveted, advertised in the brochures, splashed wide on the web page, and emulated by anyone aspiring to greatness. Or perhaps it's a version of the tendency to keep limping long after the foot has finally healed, because it's become habit. Ron N -------------- next part -------------- An HTML attachment was scrubbed... URL: <http://ptg.org/pipermail/caut.php/attachments/20110223/375cd381/attachment-0001.htm>
This PTG archive page provided courtesy of Moy Piano Service, LLC