<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN"> <HTML><HEAD> <META http-equiv=Content-Type content="text/html; charset=US-ASCII"> <META content="MSHTML 6.00.2900.2523" name=GENERATOR></HEAD> <BODY id=role_body style="FONT-SIZE: 10pt; COLOR: #000000; FONT-FAMILY: = Arial" bottomMargin=7 leftMargin=7 topMargin=7 rightMargin=7><FONT id=rol= e_document face=Arial color=#000000 size=2> <DIV>In a message dated 1/8/2005 3:26:39 A.M. Pacific Standard Time, phil@philbondi.com writes:</DIV> <BLOCKQUOTE style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: blue 2px solid"><= FONT style="BACKGROUND-COLOR: transparent" face=Arial color=#000000 size= =2>Hello all.<BR><BR>I sat in the audience last night to hear a performance on a 'D= ' that I <BR>care for. I noticed that it's starting to sound a little stride= nt and am <BR>looking for some advice to make it less strident with a busy concert <BR>schedule coming up.</FONT></BLOCKQUOTE> <DIV><FONT size=3>    >>> Hi Phil </FONT></DIV> <DIV><FONT size=3>   Me too. I experienced a Modesto sympho= ny Performance last night of </FONT><FONT size=3>Saint -Saens Piano concerto = in G minor. French Pianist Phillipe Bianconi thrilled me with his style, control,= emotion & the tone he illicited from Old Cd S&S vintage 1941. His pianissimo passage work was absolutely ethereal. The piece also thunders. I'= ve not heard this piece before & was truly Moved & Blessed at the beaut= y of what I heard.</FONT></DIV> <DIV><FONT size=3>  At the same time I was thrilled to have the privi= lege to work with this piano enough to have the kind of tonal resources available= for such a pianist as this. It was truly gratifying. I <STRONG><U>wasn't</U></STRONG> tense in my chair waiting for the ax to fall = or a string to fly out of the piano The tuning was solid a stayed put despit= e the non stop rain & changing R>H. conditions. <STRONG>It was grand</STRONG></FONT></DIV> <DIV><FONT size=3>   The Steinway D 9 ft. is a different an= imal & have found over time, Working with 9 fts. is an acquired skill th= at is a very different experience from any other types of work we do.</FONT></D= IV> <DIV><FONT size=3>     I have received Much help = from fellow techs./friends</FONT></DIV> <DIV><FONT size=3> Bob Davis of U.O.P conservatory of Music  Stockton  & Peter Clark at CSU Sacramento in the care &a= mp; feeding of Stwy D concert grands & have taken instuction from the sounds= that came from their beautifully prepped  pianos.</FONT></DIV> <DIV><FONT size=3>  There are so many variables. The type & size = & acoustics of the hall is a huge one. The Hammers ,the actions condition etc.= , Whatever, the thing I learned first was that in order for a D to project ,& have color & susutain it must be voiced so that sitt= ing at the piano it will  literally Roar at you. It' was a shocking experience to think that Chopins rain drop prelude could sound that swe= et from 100 ft away & then have oppurtunity to play the piano in person 10 minutes later on stage & hear how aggressive & powerful it sounded i= n my face. This was many years ago.</FONT></DIV> <DIV><FONT size=3>  "My" D at the symphony has a great board & th= e entire piano has been rebuilt. I like this piano very much. I like the sound= of properly voiced Stwy factory hammers in these kind of pianos. However ,in th= is D,I have a set of Isaac hmmrs  with the same kind of felt That N.Y uses= . They have been lacquered of course. </FONT></DIV> <DIV><FONT size=3>  Before the hall acoustics were enhanced/improved = I had it voiced up to project & do all those tonal things I described. </FONT></DIV> <DIV><FONT size=3>  My first Pianist in after this was Robert Levine = & I got a phone call. The pianist would like to talk to you. Gulp. about the voicing. I already knew this was coming but on the initial tuning for the we= ek was limited to time on that first occasion. Robert is a fine pianist & w= e were on the same page but I hadn't really gotten to hear the piano played in= the new hall so on that day he played & I listened..</FONT></DIV> <DIV><FONT size=3>   Really the needling required to get our des= ired result was not all that difficult or time consuming & occurred in the ar= eas on each side of the strike pt. from 1 ocklock & 11 Ockclock. With these hammers I didn't need to go particularly deep or use all that many strokes. = I also did some crown needling ,deeper than sugar coat but not too many. This warmed up the sound nicely & a happy balance of color,power & sustai= n for the new acoustics of the hall.was achieved. The pianist was happy a= s was I  </FONT></DIV> <DIV><FONT size=3>.  More relevant to your situation ,Had I the time = to wash the lacquer away from the crown a bit I would have done that but time didn't permit. I've touched it up  a few times  with needles since  to smooth out a few glaring notes.</FONT></DIV> <DIV><FONT size=3>  I've learned that just because no one has complai= ned about the piano doesn't mean objections aren't being noted by some who play it.</FONT></DIV> <DIV><FONT size=3>  My feeling is that experimenting too close to a c= oncert can be dicey & give one a good case of anxiety.</FONT></DIV> <DIV><FONT size=3>  Usually If I'm happy with what I'm hearing most pianist/folks are to. Work on the piano at your leisure. Get others who play= well to come in & play it while you stand away from the piano in the Hall.</FONT></DIV> <DIV><FONT size=3>  It would be good to know about your hall , the ha= mmers , the vintage of D & the health of the board & various components to= be any more specific. There many others that have experience in this venue. Ask= Horace, Bob Andre, Big Dave Andersen & More. Each will have a different  thing to add.</FONT></DIV> <DIV><FONT size=3>   Good voicing to you</FONT></DIV> <DIV><FONT size=3>   Dale Erwin</FONT></DIV> <DIV><FONT size=3>  </FONT></DIV> <BLOCKQUOTE style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: blue 2px solid"><= FONT style="BACKGROUND-COLOR: transparent" face=Arial color=#000000 size=2><BR><BR>-My initial thought is to start to improve its voice from= either end and <BR>work my way towards the middle.<BR><BR>- Would it be wi= se to add any liquids to the hammers during my tunings, <BR>knowing that with= ing a few hrs., the piano will be played for a performance?<BR><BR>The reason = this has to be done gradually for right now is quite simple: <BR>a very busy concert schedule coming up with time available to the <BR>instrument limit= ed at best. From what I heard last night, it MIGHT take <BR>a little more tha= n just needling to get it to where _I_ want it to be. <BR>Also, please be aw= are that no one has complained about the piano..quite <BR>he contrary..people = have been very complimentary to me about the piano. <BR>Regardless, what I hear= d last night could be made better and I'm looking <BR>here for the advise an= d expertise of those here who may have been in a <BR>similar situation.<BR><BR>-The one thing I have thought of is this: The piano will= not be used the <BR>entire month of February with Phantom coming into the hall= . It MIGHT be <BR>possible to work on it then, but again, I don't know if the p= iano will <BR>be available or accessible. Phantom takes up alot of space backstage..<BR><BR>Thoughts and ideas greatly appreciated,<BR><BR>Phil Bondi(Fl)</FONT></BLOCKQUOTE> <DIV></DIV> <DIV> </DIV></FONT></BODY></HTML>