Yamaha "S" Pianos vs. others

[Bdshull@AOL.COM]

List,

    I believe that the hammers from Asia and even Europe were designed for a 
higher humidity climate than what is generally found in North America 
(Florida notwithstanding) and that the same hammer in, say, Japan, is not 
nearly so bright because of the extremely high humidity.  My limited 
experience with the pianos in Taiwan, where I have visited, as well as with 
used pianos from the Far East here in southern California, which I end up 
servicing (gray market or private clientele), has also led me to think along 
these lines.
    In Taiwan, for example, there is a much higher tolerance for higher 
humidity and temperature indoors;  I am guessing this is the case throughout 
the Far East.  (When my parents-in-law visit the US, they are always too cold 
when our AC is set for 80 degrees during the summer, and the only places I 
could get "American" cold during the summer in Taipei would be in an 
American-oriented building, such as the Hyatt in Taipei (ate there, didn't 
stay there...).  Mind you, I quickly adjusted, partly because I knew that in 
my own particular case the higher humidity was great for my finicky 
respiratory system.)  It is unfortunate that the manufacturers' adjustments 
for differences in climate which were made in the 60's by these companies 
didn't carry over into the hammer design.  I won't speculate about what would 
have been required in terms of type and quality of felt, pressing, etc.  
Bottom line, there is a LOT of humidity in piano hammers in the Far East.
    In addition, while Yamaha and Kawai were entering the North American 
market the companies which made pianos with more traditional tonal 
objectives, e.g., Baldwin and Steinway (and Knabe, M&H and Chickering) were 
generally not competing for the same markets (generally their "name" brand 
product was positioned more upscale, while Yamaha and Kawai targeted entry 
level markets at first).  Complicating things further, the American companies 
were not building as consistently trouble-free a piano.  So a new de facto 
tonal standard was established, which was not really intended but which "the 
market" allowed/created. 
        Regarding the loss of hearing issue:  If any company has designed a 
piano partly resulting from the BUILDER'S loss of hearing, it would be the 
early Steinway company in the 1860's to 1880's, whose owners' and designers' 
hearing suffered terribly from the consequences of untreatable viral and 
bacterial infections from their long stays in Europe during the winters, as 
well as from the consumption of alcohol.  One might say that as far as the 
piano design is concerned, the company reaped the benefits without suffering 
the losses.  Of course, the market is so different now, with not only 
potential buyers and artists affected by hearing loss from high decibel 
music; the dominant forms of popular music often seem to need/expect a more 
percussive concept of tone.   

    I still love those big, ugly M&H hammers with the green "reinforcing".

    Ron O, you are just going to have to stop wearing that hearing 
protection.  

Bill Shull 

In a message dated 9/18/01 3:34:39 PM Pacific Daylight Time, 
sec@overspianos.com.au writes:

<< 
 Joe and list,
 
 Joe wrote:
 
 >IMHO we're dealing with an ever-increasing number of people that have a
 >hearing loss, due to our VERY NOISY society. It's a pity, but alas I believe
 >this to be one of the major reasons for the sale of loud, brassy sounding
 >instruments. The other reason is a little less blatant in appearance, but
 >is, in my opinion, part of the problem. That being, recording studios have a
 >distorted idea of what a piano is really supposed to sound like. So, we are
 >subjected to improperly EQ'd recordings. This is rampant throughout the
 >recording industry. Methinks to many reformed Rock musicians have gotten
 >tired of playing and are now in the studios, with their poor hearing! Just
 >this guy's opinion.
 
 Absolutely Joe. I've noticed also that the greater the hearing 
 roll-off of the particular pianist, the brighter and harder they want 
 the piano (after several years at this you get to know who's deaf and 
 who's not - by interpreting the things they say about tone).
 
 In general, pianists with a history of practicing for many hours per 
 day have significant roll off (this is also a problem for those piano 
 technicians who are full time tuners only - ie. those who don't mix 
 their work week with bench or rebuilding work). One local tech here 
 in Sydney claims that I over voice pianos. When I hear the pianos he 
 has prepared, which end up with a tonal quality something akin to 
 glass breaking (after a thorough juicing up), it is obvious why he's 
 complaining - his 'top end' must have departed years ago. For some 
 international artists that I have experienced previously, I 
 deliberately stage the voicing of a given concert piano until after 
 they have performed, allowing the piano to get brighter leading up to 
 their visit.
 
 Ron O >>