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<DIV>List,</DIV>
<DIV> </DIV>
<DIV>I've followed this thread with interest. David's thoughtful
essays, Brent's bombs pregnant with discussion material (I've hit
"send" too soon, too many times, myself), Fred's always excellent
ideas. </DIV>
<DIV> </DIV>
<DIV>For those who haven't seen it, I suggest a look at the most recent
(Fall 2010) Acoustic and Digital Piano Buyers Guide, beginning on p. 67,
"Rebuilders' Spotlight: Three Approaches to Piano Restoration" <A href="http://www.pianobuyer.com/fall10/67.html">http://www.pianobuyer.com/fall10/67.html</A>
</DIV>
<DIV> </DIV>
<DIV>As the writer and shameless promoter of the first piece, on
Restorative Conservation, I am frustrated with the ease with which re-designers
modify vintage and antique instruments. I disdain the
resulting culture of near-ritual modification which obscures a
manufacturer's signature, and which has occasionally resulted
in immeasurable losses to history.
<EM><STRONG>However,</STRONG></EM> I have great respect for, and truly
appreciate the significant contributions of many of these same people,
just as I have those who have helped me to understand the
necessity of preservation. </DIV>
<DIV> </DIV>
<DIV>I appreciate David's "fuzzy line," in the real world many lines are
fuzzy, often the consequence of our best efforts to obtain clarity. </DIV>
<DIV> </DIV>
<DIV>I look forward to catching up with a good number of friends
- heretics, conservators, fuzzy line and not-so-fuzzy line folks at
WESTPAC, where I hope to have an original condition 1866 Erard vertical on
display at the Period Piano Center exhibit. That piano will provide
ammunition for every point of view.</DIV>
<DIV> </DIV>
<DIV>Bill</DIV>
<DIV> </DIV>
<DIV><FONT lang=0 size=2 face=Arial FAMILY="SANSSERIF" PTSIZE="10">Bill Shull,
RPT, M.Mus.<BR>President, Shull Piano Inc<BR>Director, Period Piano
Center<BR>25041 Redlands Blvd<BR>Loma Linda, CA 92354<BR>909 796-4226 bus
cell<BR>bdshull@aol.com<BR><A href="http://www.shullpiano.com/">www.shullpiano.com</A><BR><A href="http://www.periodpianos.org/">www.periodpianos.org</A><BR>
<DIV> </DIV>
<DIV>
<DIV>In a message dated 2/27/2011 10:33:01 P.M. Pacific Standard Time,
davidlovepianos@comcast.net writes:</DIV>
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<P class=MsoNormal><SPAN style="FONT-FAMILY: 'Calibri','sans-serif'; COLOR: #1f497d; FONT-SIZE: 11pt">If
I may offer something. Not to start this entire thread all over again
because I think much that came out of it that was a real benefit and I don’t
see a need to start from scratch. But in the beginning of the discussion
it was said quite explicitly that the so called “redesign” people fall into
two groups (at least). Group one consists of those who are really after
something altogether different and are employing all the features fully
expecting that what comes out of it will be somewhat, maybe quite, unique
(when compared to the original) in its tonal output. Group two consists
of those who are employing some or all of those features in modified
executions with the intention not of creating something with a completely
different signature from the original but rather with the hope of enhancing
the existing tonal signature and remedy some of the “warts”, so to
speak. The point at which those features and their implementation
crosses some fuzzy line (and it is a bit fuzzy) and moves things far
enough away from the original that it morphs into something quite different is
not always easy to determine. For those in group two, in fact, that is
the challenge: to resolve some of the weaknesses of the original designs
without making it into something not recognizable—your “joining of forces”.
There is, of course, also group three, which I consider
myself to be part of, and that consist of those who do both depending on the
type of project, customer, specific piano, etc. Some projects may adhere
much more closely to the original and some might deviate considerably.
<o:p></o:p></SPAN></P>
<P class=MsoNormal><SPAN style="FONT-FAMILY: 'Calibri','sans-serif'; COLOR: #1f497d; FONT-SIZE: 11pt"><o:p> </o:p></SPAN></P>
<P class=MsoNormal><SPAN style="FONT-FAMILY: 'Calibri','sans-serif'; COLOR: #1f497d; FONT-SIZE: 11pt">I
won’t speak for Dale but I think I know which group he would probably place
himself in. I think I know where others who have been involved in this
conversation would place themselves as well. I don’t know who is
claiming to reinvent the wheel but I think it’s important not to lump all
“redesign” people in the same category. It’s also important to recognize
that those in group one are quite aware of what they are doing, I
believe. While one may not agree with it or what it produces, the piano
world is replete with pianos that produce varied outcomes and I think the
commitment they are making to their ideas is genuine and honest. So to
disparage them by “legend in their own mind” comments because their
goals are not in line with what you imagine to be the a more credible approach
is probably not really worthy of the discussion so far in spite of the heated
rhetoric that’s taken place at times. Personally, I agree that a
collaboration with pianists for concert instruments (or any instrument for
that matter) is always important and for any redesigner or even for one who
spends the bulk of their time rebuilding by more conventional methods, there
is always a danger of working in a vacuum. Similarly, the
commitment of some manufacturers to maintain the status quo even in the face
of countless reports by technicians in the field of weaknesses or failures can
also be driven by something other than “a joining of forces” and can often be
relegated to mere habit or pride. The “legends in their own mind”
description may just as well apply here. <o:p></o:p></SPAN></P>
<P class=MsoNormal><SPAN style="FONT-FAMILY: 'Calibri','sans-serif'; COLOR: #1f497d; FONT-SIZE: 11pt"><o:p> </o:p></SPAN></P>
<P class=MsoNormal><SPAN style="FONT-FAMILY: 'Calibri','sans-serif'; COLOR: #1f497d; FONT-SIZE: 11pt">David
Love<o:p></o:p></SPAN></P>
<P class=MsoNormal><SPAN style="FONT-FAMILY: 'Calibri','sans-serif'; COLOR: #1f497d; FONT-SIZE: 11pt">www.davidlovepianos.com<o:p></o:p></SPAN></P>
<P class=MsoNormal><SPAN style="FONT-FAMILY: 'Calibri','sans-serif'; COLOR: #1f497d; FONT-SIZE: 11pt"><o:p> </o:p></SPAN></P>
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<P class=MsoNormal><B><SPAN style="FONT-FAMILY: 'Tahoma','sans-serif'; FONT-SIZE: 10pt">From:</SPAN></B><SPAN style="FONT-FAMILY: 'Tahoma','sans-serif'; FONT-SIZE: 10pt">
caut-bounces@ptg.org [mailto:caut-bounces@ptg.org] <B>On Behalf Of </B>Brent
Fischer<BR><B>Sent:</B> Sunday, February 27, 2011 9:35 PM<BR><B>To:</B>
caut@ptg.org<BR><B>Subject:</B> Re: [CAUT] beginning
luck<o:p></o:p></SPAN></P></DIV>
<P class=MsoNormal><o:p> </o:p></P>
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<P class=MsoNormal>Dale, so I hit send before finishing, but I think
it's time to move<o:p></o:p></P>
<DIV>
<P class=MsoNormal>towards a progressive center of these discussions,
about where<o:p></o:p></P></DIV>
<DIV>
<P class=MsoNormal>redesign fits into the institutional setting without
compromising<o:p></o:p></P></DIV>
<DIV>
<P class=MsoNormal>certain Steinway tonal standards. I can't imagine any
dialog between<o:p></o:p></P></DIV>
<DIV>
<P class=MsoNormal>a tech and rebuilder/re-designer that
doesn't include " I will re-design <o:p></o:p></P></DIV>
<DIV>
<P class=MsoNormal>this because my science is better than their
experience." In the <o:p></o:p></P></DIV>
<DIV>
<P class=MsoNormal>context of support I think the attitude should bend
towards <o:p></o:p></P></DIV>
<DIV>
<P class=MsoNormal>how can my design work compliment the factory without
alienating<o:p></o:p></P></DIV>
<DIV>
<P class=MsoNormal>the core tonal expectations that will exist on stage
for the <o:p></o:p></P></DIV>
<DIV>
<P class=MsoNormal>foreseeable future. That's the model of
collaboration I believe is <o:p></o:p></P></DIV>
<DIV>
<P class=MsoNormal>a workable venue that will also in the end not
jeopardize anyone's <o:p></o:p></P></DIV>
<DIV>
<P class=MsoNormal>job, either employed tech or rebuilder trying to
promote a quality project.<o:p></o:p></P></DIV>
<DIV>
<P class=MsoNormal><o:p> </o:p></P></DIV>
<DIV>
<P class=MsoNormal> What working towards the center
for mutual gain means to me <o:p></o:p></P></DIV>
<DIV>
<P class=MsoNormal>would be for example, introducing a re-designed
Steinway into<o:p></o:p></P></DIV>
<DIV>
<P class=MsoNormal>a smaller recital setting, perhaps meant for more
ensemble work that<o:p></o:p></P></DIV>
<DIV>
<P class=MsoNormal>would promote clarity and projection with a palette
of color not<o:p></o:p></P></DIV>
<DIV>
<P class=MsoNormal>usually heard in the larger hall needing an edge.
That's the <o:p></o:p></P></DIV>
<DIV>
<P class=MsoNormal>disconnect I am talking about here that I have yet to
read over<o:p></o:p></P></DIV>
<DIV>
<P class=MsoNormal>the past weeks including the premise that your
redesign should<o:p></o:p></P></DIV>
<DIV>
<P class=MsoNormal>be within some tolerance of the norm without the ego
that says "this is <o:p></o:p></P></DIV>
<DIV>
<P class=MsoNormal>the best I've ever heard." Ya, I would say
there's some bias when <o:p></o:p></P></DIV>
<DIV>
<P class=MsoNormal>it sounds like a few are linked into " A Legend in my
own Mind.com." <o:p></o:p></P></DIV>
<DIV>
<P class=MsoNormal>How about joining forces with tradition to
improve clarity, sustain, and <o:p></o:p></P></DIV>
<DIV>
<P class=MsoNormal>power without taking credit for re-inventing the
wheel, just improving on it?<o:p></o:p></P></DIV>
<DIV>
<P class=MsoNormal><o:p> </o:p></P></DIV>
<DIV>
<P class=MsoNormal>Brent<o:p></o:p></P></DIV>
<DIV>
<P class=MsoNormal><BR>--- On <B>Sun, 2/27/11, Dale Erwin
<I><erwinspiano@aol.com></I></B> wrote:<o:p></o:p></P>
<P style="MARGIN-BOTTOM: 12pt" class=MsoNormal><BR>From: Dale Erwin
<erwinspiano@aol.com><BR>Subject: Re: [CAUT] beginning luck<BR>To:
caut@ptg.org<BR>Date: Sunday, February 27, 2011, 9:02 PM<o:p></o:p></P>
<DIV id=yiv661167787>
<DIV>
<P class=MsoNormal><SPAN style="FONT-FAMILY: 'Comic Sans MS'; COLOR: black; FONT-SIZE: 10pt">
</SPAN><SPAN style="FONT-FAMILY: 'Comic Sans MS'; COLOR: black">Hey
Brent<BR> Disconnect? What disconnect? <BR> I guess I
missed that one . So, (this designer/re-designer of a variety of types
of board structures),..... was too busy working at the<U>
college</U>.<BR> Am I pickin up some continuous undercurrent of
bias.?</SPAN><SPAN style="FONT-FAMILY: 'Comic Sans MS'; COLOR: black; FONT-SIZE: 10pt"><o:p></o:p></SPAN></P></DIV>
<DIV>
<P class=MsoNormal><SPAN style="FONT-FAMILY: 'Comic Sans MS'; COLOR: black; FONT-SIZE: 10pt"><o:p> </o:p></SPAN></P></DIV>
<DIV>
<P style="MARGIN-BOTTOM: 12pt" class=MsoNormal><B><SPAN style="FONT-FAMILY: 'Comic Sans MS'; COLOR: indigo; FONT-SIZE: 10pt">Dale
S. Erwin<BR></SPAN></B><B><SPAN style="FONT-FAMILY: 'Comic Sans MS'; COLOR: indigo; FONT-SIZE: 7.5pt">www.Erwinspiano.com<BR></SPAN></B><B><SPAN style="FONT-FAMILY: 'Comic Sans MS'; COLOR: black; FONT-SIZE: 7.5pt"><BR><BR></SPAN></B><SPAN style="FONT-FAMILY: 'Comic Sans MS'; COLOR: black; FONT-SIZE: 10pt"><o:p></o:p></SPAN></P></DIV>
<DIV>
<P style="MARGIN-BOTTOM: 12pt" class=MsoNormal><SPAN style="FONT-FAMILY: 'Arial','sans-serif'; COLOR: black; FONT-SIZE: 10pt">-----Original
Message-----<BR>From: Brent Fischer
<brent.fischer@yahoo.com><BR>To: caut@ptg.org<BR>Sent: Sun, Feb
27, 2011 7:26 pm<BR>Subject: Re: [CAUT] beginning
luck<o:p></o:p></SPAN></P>
<DIV id=yiv661167787AOLMsgPart_2_ff617abb-9b5e-42f7-8099-3210ef01d89b>
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<P class=MsoNormal>Hey Fred, <o:p></o:p></P>
<DIV>
<P class=MsoNormal><o:p> </o:p></P></DIV>
<DIV>
<P class=MsoNormal> It's ironic to me that the same
disconnect between "re-designers" and<o:p></o:p></P></DIV>
<DIV>
<P class=MsoNormal>institutions parallels in much the same way as
the Steinway lack of<o:p></o:p></P></DIV>
<DIV>
<P class=MsoNormal>technical follow up after an "All-Steinway"
school has paid a million<o:p></o:p></P></DIV>
<DIV>
<P class=MsoNormal>for the designation<o:p></o:p></P></DIV>
<DIV>
<P class=MsoNormal>Brent <o:p></o:p></P></DIV>
<DIV>
<P class=MsoNormal><o:p> </o:p></P></DIV>
<DIV>
<P class=MsoNormal><o:p> </o:p></P></DIV>
<DIV>
<P class=MsoNormal><o:p> </o:p></P></DIV>
<DIV>
<P class=MsoNormal><BR>--- On <B>Sun, 2/27/11, Fred Sturm
<I><<A title=http://mc/compose?to=fssturm@unm.edu href="mip://09e4ef60/mc/compose?to=fssturm@unm.edu" target=_blank>fssturm@unm.edu</A>></I></B>
wrote:<o:p></o:p></P>
<P style="MARGIN-BOTTOM: 12pt" class=MsoNormal><BR>From: Fred
Sturm <<A title=http://mc/compose?to=fssturm@unm.edu href="mip://09e4ef60/mc/compose?to=fssturm@unm.edu" target=_blank>fssturm@unm.edu</A>><BR>Subject: Re: [CAUT]
beginning luck<BR>To: <A title=http://mc/compose?to=caut@ptg.org href="mip://09e4ef60/mc/compose?to=caut@ptg.org" target=_blank>caut@ptg.org</A><BR>Date: Sunday, February 27, 2011,
2:20 PM<o:p></o:p></P>
<DIV>
<P style="MARGIN-BOTTOM: 12pt" class=MsoNormal>On Feb 26, 2011, at
4:13 PM, Brent Fischer wrote:<BR><BR>> secondly get to
Steinway<BR>> factory sessions often and mostly get to their
C&A training in the basement<BR>> and come away with their
endorsement of your work, and leave your<BR>> electronic tuning
aid at home when you go.<BR><BR><BR>Hi
Brent,<BR> I think the C & A training (if
you mean the final of the four regular one-week sessions) has
changed quite a bit since you went. A couple years ago when I
went, there were four of us in the usual room, and the only real
difference between it and the "tone regulation" session was that
we had Bs and Ds instead of smaller pianos. No work in the
basement. I was disappointed, as I had heard there would only be
two students, and there would be some work with the C & A
guys, maybe in the basement. Of course, since then Kent Webb has
taken over the "Academy" so it might have changed
again.<BR> No need to leave the ETD behind, in
fact better not to, as tuning was done by all four simultaneously,
with only flimsy doors dividing us. Oh, and "their endorsement of
your work" is at best informal. It is made clear that you are not
certified by Steinway, though I did actually get a certificate for
the last session. But it said something like "attended the concert
prep session," not even weak wording like "completed." Obviously
you can let people know you did the training, but you are not
supposed to imply anything beyond that. The world
changes.<BR>Regards,<BR>Fred Sturm<BR>University of New
Mexico<BR>fssturm@unm.edu<BR><BR><BR><BR><BR><o:p></o:p></P></DIV></DIV></TD></TR></TBODY></TABLE></DIV></DIV></DIV></DIV></TD></TR></TBODY></TABLE>
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