[CAUT] Steinway sound

[Ed Sutton]

For what it's worth, here is another question:

David Stanwood's Touchweight Metrology formulas (ca. 1995) have brought about a revolution (or evolutionary change) in action rebuilding, including, I think it's fair to say, a small cottage industry in redesigning Steinway actions.

Is anyone complaining that these instruments "Don't have the Steinway touch?" 

(I have heard a Steinway trained salesman say "If you want the Steinway touch, you've got to have a genuine Steinway!")

Ed Sutton

  ----- Original Message ----- 
  From: Dale Erwin 
  To: caut at ptg.org 
  Sent: Monday, February 28, 2011 10:58 AM
  Subject: Re: [CAUT] Steinway sound


     I'm good with this statement Horace. 
    In my own practice I have been trying in most cases to not deviate to far from the core tonal expectations for several reasons.
  1.  I like the basic Steinway sound at its best, & so do many ears
  2. I'm conservative with my clients pianos again trying to enhance the best components of the tone.
  3. Redesigning the piano too much can influence its marketability in the minds of some.  For others they would find it a plus to own a Hot Rod so to speak. Hey, different strokes.

   I personally prefer to judge the piano by its sound not the design. That is..... what pianist do. They don't look under the hood. 
    Heres the question. What constitutes a redesign?  Most guys out in small shops are not compression crowning there boards but  crowning the ribs to some degree to support crown. Drying the board far less. Neither is a Steinway parameter. This is our primary deviation. Do these pianos sound like Steinways? It doesn't matter what I think if the client likes them.
   
  So here is an opportunity to see my The Erwin & Sons Re- manufactured 1930s Steinway B Hot Rod on display if you'll are coming to the WEST-PACS. in S.F. next week.  It will be there in the hall and in the Ronsen Class room.
    Dale 

   

  > 
  > In any event, I very much like Brent's concept of complimenting > whatever design might exist "without alienating the core tonal > expectations..."; and working in smaller venues while new designs > are tested more thoroughly to see what does and does not stand up > to performance needs and expectations. That is a very wide field > of tone and response to explore, with tremendous room for > variation; and, as Brent notes, no one's career or reputation winds > up on the line. 
  > 
  > Developing things along these kinds of lines sounds to me like > everyone wins...and that qualifies as a Very Good Thing. 
  > 
  > Best. 
  > 
  > Horace 
  > 
  > 

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