<html><head><base href="x-msg://1349/"></head><body style="word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space; ">And I heard a Steinway salesman who was attempting to sell an 1890s K with all, I mean all, original parts say, "Now that's the true Steinway touch!"<div>Just sayin..... : :>)</div><div><br></div><div>jeannie</div><div><br><div><div>On Feb 28, 2011, at 8:14 AM, Ed Sutton wrote:</div><br class="Apple-interchange-newline"><blockquote type="cite"><span class="Apple-style-span" style="border-collapse: separate; font-family: Helvetica; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; orphans: 2; text-indent: 0px; text-transform: none; white-space: normal; widows: 2; word-spacing: 0px; -webkit-border-horizontal-spacing: 0px; -webkit-border-vertical-spacing: 0px; -webkit-text-decorations-in-effect: none; -webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; font-size: medium; "><div bgcolor="#ffffff"><div><font face="Arial" size="2">For what it's worth, here is another question:</font></div><div><font face="Arial" size="2"></font> </div><div><font face="Arial" size="2">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.</font></div><div><font face="Arial" size="2"></font> </div><div><font face="Arial" size="2">Is anyone complaining that these instruments "Don't have the Steinway touch?"</font></div><div><font face="Arial" size="2"></font> </div><div><font face="Arial" size="2">(I have heard a Steinway trained salesman say "If you want the Steinway touch, you've got to have a genuine Steinway!")</font></div><div><font face="Arial" size="2"></font> </div><div><font face="Arial" size="2">Ed Sutton</font></div><div><font face="Arial" size="2"></font> </div><blockquote style="padding-right: 0px; padding-left: 5px; margin-left: 5px; border-left-color: rgb(0, 0, 0); border-left-width: 2px; border-left-style: solid; margin-right: 0px; "><div style="font: normal normal normal 10pt/normal arial; ">----- Original Message -----</div><div style="background-image: initial; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: rgb(228, 228, 228); font: normal normal normal 10pt/normal arial; background-position: initial initial; background-repeat: initial initial; "><b>From:</b><span class="Apple-converted-space"> </span><a title="erwinspiano@aol.com" href="mailto:erwinspiano@aol.com">Dale Erwin</a></div><div style="font: normal normal normal 10pt/normal arial; "><b>To:</b><span class="Apple-converted-space"> </span><a title="caut@ptg.org" href="mailto:caut@ptg.org">caut@ptg.org</a></div><div style="font: normal normal normal 10pt/normal arial; "><b>Sent:</b><span class="Apple-converted-space"> </span>Monday, February 28, 2011 10:58 AM</div><div style="font: normal normal normal 10pt/normal arial; "><b>Subject:</b><span class="Apple-converted-space"> </span>Re: [CAUT] Steinway sound</div><div><br></div><font face="Comic Sans MS, sans-serif" color="black" size="2"> <span class="Apple-converted-space"> </span><font size="2"><font face="Comic Sans MS, sans-serif">I'm good with this statement Horace.<span class="Apple-converted-space"> </span><br> In my own practice I have been trying in most cases to not deviate to far from the core tonal expectations for several reasons.<br>1. I like the basic Steinway sound at its best, & so do many ears<br>2. I'm conservative with my clients pianos again trying to enhance the best components of the tone.<br>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.<br><br> 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.<span class="Apple-converted-space"> </span><br> 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.<br> <br>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.<br> Dale<span class="Apple-converted-space"> </span><br><br> <br></font></font><font face="Comic Sans MS, sans-serif" color="black" size="2"><div style="font-size: 10pt; color: black; font-family: arial, helvetica; "><div id="AOLMsgPart_0_a844f0b6-4de9-4f17-b38d-c0f63a734a77" style="font-size: 12px; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; color: rgb(0, 0, 0); font-family: Tahoma, Verdana, Arial, sans-serif; background-color: rgb(255, 255, 255); ">> <br>> 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. <br>> <br>> Developing things along these kinds of lines sounds to me like > everyone wins...and that qualifies as a Very Good Thing. <br>> <br>> Best. <br>> <br>> Horace <br>> <br>> </div></div><br></font></font></blockquote><font face="Comic Sans MS, sans-serif" color="black" size="2"><font face="Comic Sans MS, sans-serif" color="black" size="2"></font></font></div></span><br class="Apple-interchange-newline"></blockquote></div><br></div></body></html>