<html><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8"></head><body>Hi Israel<div>Really good post. Quite a journey you,ve been on. Fwiw Hamburg rims or some have been made of maple acquired from the N.Y factory. In 1996 I was on a tour with Michael mohr at the factory and he pointed to stacks of maple being readied to ship to Hamburg.<br><br>Never the less the two factories produce very different instruments.</div><div>Dale<br><br><br><span style="font-size:100%">Sent from my Samsung Galaxy Tab 10.1</span> </div><br>Israel Stein <custos3@comcast.net> wrote:<br>Hi, William<br><br>Lest this post be misconstrued, I do <br>believe - like you - that Steinway still <br>makes a pretty darn good - occasionally <br>great - piano, but improvements in <br>quality control would be very welcome... <br>And your well thought out remarks remind <br>me of something I heard Eric Schandall <br>say on several occasions, back when - <br>besides being a Steinway C & A <br>technician in New York - he was running <br>the Steinway Academy and doing lots of <br>presentations on behalf of Steinway all <br>over the country. One of his points was <br>that it would be a tremendous loss for <br>the world's musical culture if every <br>piano sounded like a Steinway. According <br>to him, it is precisely the variety of <br>sonorities of different manufacturers' <br>pianos that enriches the music world, <br>and he was proud of working for one of <br>those manufacturers. He would also make <br>the point that Europe and North America <br>have very different ideas of constitutes <br>the ideal piano sound - and trying to <br>compare the two in terms of which is <br>"better" is nonsense. In North America <br>the richer, deeper darker and fuller <br>sound - like of a good New York Steinway <br>(at least what it used to be - many <br>pianists complain that it is hard to <br>find these days) - prevails, while in <br>Europe the ideal is a crisper, brighter, <br>more transparent tone. The Hamburg <br>Steinway, by the way (according to Eric) <br>was built to suit the European taste, so <br>any claim that the Hamburg Steinway is <br>an "American" piano is based on <br>ignorance. The Hamburg rims are made <br>from local woods - hornbeam - and not <br>rock maple, which only grows in North <br>America. And the hammers are the much <br>denser European style hammers.<br><br>And as far as quality and workmanship is <br>concerned, I can cite numerous instances <br>of substandard Steinways - both New York <br>and Hamburg - from my years of prepping <br>them, first at the Boston dealership, <br>then at three different stores of the <br>San Francisco Bay area dealership. Heck, <br>in my first year at Boston's Steinert <br>store, we sent back 6 Steinway grands of <br>various sizes. The president of the <br>company had me document some of the <br>problems photographically - at one point <br>he got really upset and said something <br>like "what are they doing - trying to <br>put me out of business?" Some of the <br>problems I remember were: horrendous <br>bridgepin positions (really sloppy - no <br>side bearing in some cases), downbearing <br>issues, poor choice of soundboard panels <br>(really poor grain), horrendous action <br>geometry - this on a Steinway D!!! <br>Harvard University purchased that D - it <br>really was a nice sounding piano - but <br>their technician insisted on extensive <br>modifications to the action (which we <br>did in the store shop - and billed <br>Steinway for the time).<br><br>Right around that time, Boston's <br>Symphony Hall had for a house Steinway a <br>Hamburg "D" - which was not able to <br>project over an orchestra. I remember <br>Daniel Barenboim in a performance of the <br>two Brahms concerti trying his best to <br>pull some more sound out of that dog - <br>with Seji Ozawa really trying to hush <br>the orchestra as much as possible - and <br>the piano was still inaudible! Some <br>artists refused to play on it - Emmanuel <br>Ax and Alfred Brendel come to mind - and <br>brought in a Steinway C & A instrument <br>instead (we had them at the store) <br>paying for transport and tuning out of <br>their own funds. Then, in my 3-4 years <br>at the San Francisco dealership, I came <br>across numerous B's with dead trebles <br>(it seemed to be epidemic about 10 years <br>ago) and there was a horrendous sounding <br>"M" that sat at the Walnut Creek store <br>for three years (no amount of voicing <br>made much difference) before someone - <br>probably an interior decorator (it was a <br>"fancy case" model) - bought it...<br><br>Currently at San Francisco State <br>University we have a Hamburg D with a <br>dead bass (some knucklehead department <br>chair ordered it sight unseen and <br>untried - after all, it's a Hamburg <br>Steinway, so anything we get has to be <br>great - right?) According to the records <br>left by the previous technician, he <br>struggled for years trying to get more <br>sound out of that bass. We (there's two <br>of us working here) replaced the hammers <br>on it a few years ago, and even had a <br>Hamburg factory-trained consultant help <br>with the voicing. Bass is still dead. So <br>a performer either has to tone down <br>everything - or bash away at the bass <br>trying to make it match a "full <br>throttle" performance, and listen to it <br>"blow up on a FFF" (yes, I heard it <br>myself - so here goes another specious <br>claim, Steinways do "blow up on a FFF").<br><br>So as William writes, Steinway does make <br>a possibly great instrument - but it <br>often takes an awful lot of work to get <br>it to its full potential. And way too <br>often, even with lots of work, the <br>result leaves a lot to be desired... <br>And, by the way, Larry Fine does not <br>make his claims on the basis of his own <br>observations - he gets feedback from a <br>large number of skilled technicians all <br>over the US and Canada, who report to <br>him their observations. And if all the <br>people who are having apoplexy over what <br>Larry was quoted on in the Times re-read <br>his words carefully, they might see that <br>he was describing the mindset of <br>potential piano buyers that is <br>contributing to the destruction of old <br>pianos - not making a recommendation. <br>There is no point hiding your heads in <br>the sand, folks - that is the reality in <br>the low end of today's piano <br>marketplace. Those buyers who would be <br>happy with a cheap, mediocre acoustic <br>piano would very often be just as happy <br>with an electronic. The acoustic piano <br>business is migrating up-market - where <br>users can actually appreciate the <br>difference between acoustic and <br>electronic. So if you want to stay in <br>business, do whatever it takes to get <br>yourself into that sector. And <br>personally, I wouldn't mind seeing all <br>those old Wurlitzers and Aeolians and <br>Kimballs and spinets of every ilk go off <br>the end of a mover's truck - they are <br>the everlasting shame of the American <br>piano industry and, according to many, <br>in a large part responsible for its demise.<br><br>And as far as our original poster's <br>judgement of piano quality - well, <br>besides sounding an awful lot like a <br>sales pitch, it presumes that "bigger is <br>better". Not every performance is given <br>in and Avery Fisher sized hall, and in <br>many musical contexts what is desirable <br>is the ability to blend into an ensemble <br>- not to project. Then again, only a <br>small minority of pianos sold are meant <br>for performance - and many of those <br>meant for performance will be used in <br>intimate surroundings where the "ability <br>to project" is not really a <br>consideration (as it isn't in most home <br>and studio pianos.) So our original <br>poster seems to be suffering from a bit <br>of tunnel vision here... I really hope <br>that his judgement as a baseball coach <br>is a lot better than his judgement of <br>pianos - or his team is in for a very <br>rough season...<br><br>Well, William, nice reading your clear <br>and well thought out prose again. We all <br>missed you in Seattle...<br><br>Israel Stein<br><br><br><br>><br>><br>> Hi Brent,<br>><br>> All due respect, but this comment you've made outlines exactly why Steinway<br>> is so successful, and other equal (or better) instruments are given the<br>> nose to the air treatment. You wrote:<br>><br>> "My doubt stems from knowing that<br>> Steinway rim construction, utilizing rock maple, is the<br>> standard for instrument projection."<br>><br>> The only people who "know" this to be true are those who "know" Steinway is<br>> the best, or who "know" anything else in this world. This "knowing" is<br>> nothing more than prejudicial hyperbole. It makes honest comparison<br>> impossible. I certainly don't "know" that maple is the best rim material.<br>> Perhaps I'm a fool. I would also agree that as Mr Anderson states, "personal<br>> preference should determine your choice here."<br>><br>> If you want your pianos to sound like a NY Steinway, then by all means<br>> choose one. However, if you have differing tonal ideas, your choice<br>> doesn't instantly become lesser by virtue of it not being a Steinway.<br>> Neither does it mean that any of the long held Steinway marketing myths<br>> are anything more than that.<br>><br>> You wrote, " because there is simply no mistakes made in Steinway joinery,<br>> including boards and bridges." My experience is different here. I've seen<br>> plenty of mistakes on S&S boards and bridges (and braces). It's not<br>> perfect. Don't get me wrong. It doesn't make it awful, it just means it's<br>> not always "the best." There is room.<br>><br>> You wrote, "Steinway makes the only piano that doesn't blow up on "FFF" and<br>> selective artists know the difference and the sound. ." And again, I would<br>> say my experience is very different. I've known many instrument makes<br>> apart from Steinway whose pianos can go above and beyond Steinway. And<br>> while it may be true that artists "recognize" a particular tonal spectrum<br>> associated with Steinway, it doesn't have to mean that palette is the only<br>> desirable one. Just because it has the name Steinway on it, I don't<br>> personally feel that makes everything that it is desirable, or even OK in<br>> some cases.<br>><br>> Take Steinway's notorious duplex segments. Zingers abound. Some at S&S<br>> will tell you how the artists actually like that. When I was in NY at<br>> Steinway, there was an interesting discussion involving Ron Connors and the<br>> current folks in the Selection Room, whereby when the issue came up, the<br>> pregnant pause spoke volumes about what SOME at S&S felt about that<br>> particular "desirable" trait.<br>><br>> Again, I would emphasize that I have nothing particularly against S&S. I<br>> like most of the S&S pianos I see. But, I don't view them as the world<br>> standard. I view them as one of the available "Tier 1" pianos. If an<br>> artist truly desires what Steinway produces in tone and touch, then by all<br>> means that should be the choice. But if the decision to choose Steinway is<br>> simply because, "well, it's a Steinway," I think that is a great tragedy.<br>><br>> William R. Monroe<br>><br>><br>><br>><br>> On Thu, Aug 2, 2012 at 9:42 AM, Brent Fischer <brent.fischer@yahoo.com>wrote:<br>><br>>> hey Mr. Anderson, I appreciate your civil discourse. Mr.<br>>> Erwin must have hit his head prior to his foolish reply.<br>>><br>>> I'm a baseball coach so this has to be my final response<br>>> for a little while. I'm not discounting the merit of your<br>>> ability to discern power differences, I would just have to<br>>> hear it for myself. My doubt stems from knowing that<br>>> Steinway rim construction, utilizing rock maple, is the<br>>> standard for instrument projection. If you're saying the Sauter<br>>> utilizes a rim species of wood that is superior to maple I<br>>> have difficulty believing it. If Sauter utilizes a keybed<br>>> that accelerates resonance to the pianist without quartered<br>>> spruce slats then I have to question how.<br>>><br>>> I was able to find a pic of the lyre you mentioned<br>>> and although the assembly pieces appear to be of acceptable<br>>> diameters the comment I made about Julliard has to do with<br>>> the support system. A steel rod bracing will always flex<br>>> more due to the torque applied to the outer corners of the<br>>> lyre box. This is the main reason Steinway braces with birch<br>>> sticks that are fit into the keybed. Under rigorous demands<br>>> the flexing becomes an issue and over time only worsens and the<br>>> pianist feels a sense of disconnection. This is for the very same<br>>> reason I use carbon fiber soles when cycling, the rigidity of<br>>> the shoe is critical when standing up on the pedals when engaging<br>>> twelve percent climbs.<br>>><br>>> Last comment on Fine, why would you imply on a national stage<br>>> that digitals have the added advantage of not needing to be tuned.<br>>> As if the trade wasn't suffering enough already, there just went thousands<br>>> across the world including the technician's business card in their<br>>> shredding<br>>> pile for re-cycling. At least we're going green on the way out.<br>>><br>>> Sincerely,<br>>><br>>> Brent Fischer<br>>><br>>><br>>><br>>><br>>><br>>> I went on an extended hunt for the specs on the<br>>> Omega and turned up little besides equilibrium formulas.<br>>> Resonance projection starts with a maple rim, it's the code.<br>>> It's hard to comment without that much, and then I my<br>>> travels I'm I will search one out.<br>>><br>>> I did see a picture of the lyre. The base looks stout, however<br>>> all lyres with<br>>><br>>><br>>><br>>> ------------------------------<br>>> *From:* Andrew Anderson <andrew@andersonmusic.com><br>>> *To:* Brent Fischer <brent.fischer@yahoo.com><br>>> *Sent:* Wednesday, August 1, 2012 8:50 PM<br>>><br>>> *Subject:* Re: [CAUT] The demise of the American piano industry<br>>><br>>> Interlined below<br>>> On Aug 1, 2012, at 7:53 PM, Brent Fischer wrote:<br>>><br>>> yes, I agree if NY would utilize Hamburg plates and a workforce that<br>>> thought like Hamburg employees the conversation would be over. It's<br>>> important to quantify "quality construction " because there is simply<br>>> no mistakes made in Steinway joinery, including boards and bridges.<br>>> Above all else, Steinway makes the only piano that doesn't blow<br>>> up on "FFF", and selective artists know the difference and the sound.<br>>><br>>> Here is where I have the opposite experience. Sauter Omegas are more<br>>> powerful sonically and have a much broader dynamic range than any Steinway<br>>> I've encountered, and that is the semi-concert grand. Back to back on<br>>> stage there is no doubt as to which is the more musical piano and that is<br>>> how we shut Steinway out of institutional purchases. One Omega against one<br>>> D: put them together and the difference is obvious. Steinways distort at<br>>> FFF, Sauters get louder.<br>>><br>>> Now people do identify with that distortion and you can get a little from<br>>> a Sauter, eventually, if you are brutal. If you need to have it easily and<br>>> can live with a smaller dynamic envelope, you should choose Steinway.<br>>> Again, personal preference should determine your choice here. If you need<br>>> to power up a hall though, the sound meter confirms what the ear hears:<br>>> Sauters do FFF louder by wasting much less sonic energy on distortion.<br>>> They carry very well.<br>>><br>>> The quality of the best Euro piano made is only designed to function<br>>> musically up to and never above " FF ". Mason and Hamlin has the<br>>> tonal substructure to support tenacious pianists however when they<br>>> designed hardened steel front duplex bars they compromised the treble tone.<br>>> Quality 101:<br>>> a. No one but Steinway makes a lyre to withstand the rigors of<br>>> Julliard<br>>><br>>> Have you seen the Sauter lyre system?<br>>><br>>><br>>> b. only Steinway uses quartered-sawn poplar in lid construction,<br>>> like a carbon-fiber bike frame; light and strong<br>>> Andrew, the argument has to finish with which piano can withstand<br>>> the rigors of a changing upswing in the strength of modern pianists,<br>>> playing<br>>> to crowds that come to hear " piano Olympics ". Steinway sets the bar at<br>>> "FFF" and<br>>> you have the little F's following behind.<br>>> You wouldn't give Albert Pujols a plastic bat to hit a homer no more<br>>> than you<br>>> would give Lang Lang a Bosendorfor to play Lizt.<br>>><br>>> Actually a lot of what Liszt wrote sounds really good on a Bosie. I would<br>>> tend to reserve a Bosie for music of a more Austrian style, Mozart, Haydn<br>>> and some Beethovan. There are any number of fine piano makes that are<br>>> interesting in their own right and some might be preferred for certain<br>>> types of music. Steinway's aggressive (admirably successful) marketing has<br>>> positioned it where it is dominant in venues here in North American but<br>>> that dominance has many factors involved that aren't necessarily about<br>>> music-making.<br>>><br>>> YMMV,<br>>> Andrew Anderson<br>>><br>>><br>>><br>>> Sincerely,<br>>> Brent Fischer<br>>><br>>><br>>><br>>><br>>> ------------------------------<br>>> *From:* Andrew Anderson <andrew@andersonmusic.com><br>>> *To:* Brent Fischer <brent.fischer@yahoo.com>; caut@ptg.org<br>>> *Sent:* Wednesday, August 1, 2012 5:22 PM<br>>><br>>> *Subject:* Re: [CAUT] The demise of the American piano industry<br>>><br>>> Mr. Fischer<br>>> When you are dealing with fine pianos you will find that they are quite<br>>> individual in their characteristics and the choice of a piano becomes a<br>>> personal one of preference. Teir-1 piano makers are not copying each other<br>>> and don't have the same goals when it comes to sound and playing<br>>> characteristics.<br>>><br>>> If you are comparing quality and consistency of manufacture Steinway NY<br>>> loses, hands down. If the German can't get past union senority issues in<br>>> NY, Steinway will completely undermine its iconic reputation--self<br>>> destruct. I, for one, hope it does get control of its QC issues. It would<br>>> be a shame to lose another American manufacturer.<br>>><br>>> That said, I don't like any of the Steinways I work with. They are<br>>> getting better but they are all compromised instruments which will not be<br>>> stellar until re-bellied they way they should be. Quality control was<br>>> definitely out to lunch on these Ds an Bs.<br>>><br>>> In my store I carry a teir-one German brand and these pianos are obviously<br>>> better then any NY Steinway I work on. Every performing artist I've had<br>>> over has fallen in-love with them, some of them under contractual<br>>> obligation to demand another instrument at performance venues.<br>>><br>>> Unless the only Steinways you encouter are C&A stock, you have missed out<br>>> on a lot of other fine brands.<br>>><br>>> As to Chinese made pianos, the strides being made there are rapid, much<br>>> more rapid than the progress that was made by Japanese piano makers. There<br>>> is a least one brand coming out of China today that is very serious<br>>> competition for the Japanese makes at their better levels.<br>>><br>>> The world does not stand still. Things do change over time. Keeping<br>>> track of that is an invaluable service. I do disagree with Fine on<br>>> occasion but as yet he has no credible competition for the service he<br>>> provides and I do recommend his service to everyone who asks.<br>>><br>>> Sincerely,<br>>> Andrew Anderson<br>>><br>>> On Aug 1, 2012, at 4:48 PM, Brent Fischer wrote:<br>>><br>>> Mr. Bousel,<br>>> With all due respect Aaron I don't consider my opinion a minority one.<br>>> Secondly, who made Mr. Fine's instrument acumen the " last word " or<br>>> his analysis the " bible " of the industry. As the last of the greatest<br>>> American made pianos fade into the sunset there will be even the<br>>> occasional Mason and Hamlin growing daises in your local dump. The<br>>> comparison that Fine makes with the Chinese industry would leave the<br>>> laymen believing that they are just as well made as the original specs<br>>> of pianos that were light years ahead of anything made in China.<br>>><br>>> It all starts with the carcass, just have to compare and contrast with<br>>> specs that have been historically superior. There has never been a<br>>> foreign<br>>> made piano anywhere that could hold it's own on stage with a Baldwin or<br>>> Mason much less a Steinway. I don't categorize the Hamburg as foreign.<br>>><br>>> Final comment: The last time I drove over Fine's book with my truck<br>>> was when he made his biblical judgement that European instruments<br>>> are as good as our currently US made Steinways.<br>>> Like I said, he's not our spokesman.<br>>><br>>> ------------------------------<br>>> *From:* Aaron Bousel <abousel@comcast.net><br>>> *To:* caut@ptg.org<br>>> *Sent:* Wednesday, August 1, 2012 3:24 PM<br>>> *Subject:* Re: [CAUT] The demise of the American piano industry<br>>><br>>> Here's a link to the whole article, including a video.<br>>> http://www.nytimes.com/2012/07/30/arts/music/for-more-pianos-last-note-is-thud-in-the-dump.html?pagewanted=all<br>>><br>>> First: Larry is hardly responsible for the juxtaposition of his comment<br>>> and the photo of an old Knabe grand.<br>>> Second: You don't know the context of his remarks, that is, what question<br>>> was asked by the reporter that elicited the quote that was used. In the<br>>> context of 80 to 100+ year old verticals it certainly fits and his comment<br>>> doesn't endorse the purchase of a digital piano, it just states the reality<br>>> of the marketplace.<br>>> Third: You've "always said" that Larry Fine doesn't know what he's talking<br>>> about? OK, you're entitled to your opinion (albeit a minority one within<br>>> the industry), but don't base it on one out of context quote from a<br>>> newspaper article.<br>>><br>>> Aaron<br>>><br>>> At 07:25 AM 8/1/2012, you wrote:<br>>><br>>> NY Times 7-30-12.....Music Article<br>>><br>>> On the front page of the digital NY Times " For More Pianos, Last Note<br>>> is the Thud in the Dump"<br>>><br>>> " Instead of spending hundreds or thousands to repair an old piano, you<br>>> can buy a new one made in China that's just as good, or you can buy a<br>>> digital<br>>> one that doesn't need need tuning and has all kinds of bells and<br>>> whistles," said<br>>> Larry Fine, the editor and publisher of Acoustic & Digital Buyer " the<br>>> industry bible.<br>>><br>>> The picture seen around the world is of a vintage Knabe grand being<br>>> trashed.<br>>> Confirms what I've always said, he doesn't know what he is talking about.<br>>><br>>> Brent Fischer<br>>> 30 yr. member of the PTG / Registered Craftsman / retired<br>>><br>>><br>>> ------------------------------------------<br>>> Aaron Bousel<br>>> Registered Piano Technician, Piano Technicians Guild<br>>> info@bouselpiano.com<br>>> (413) 253-3846 (voice & fax)<br>>><br>>><br>>><br>>><br>>><br>>><br>>><br>>><br>>><br>><br><br> </body>