Olde instrument Scaling, etc.

[Farrell]

We're gettin' there. Just a couple more (below)???? Thanks.

"These instruments will never SOUND  like nor PLAY like a modern instrument"

How do they sound different? I have only tuned one square. It sounded like a
piano to me. In fact, it sounded a lot better and more piano-like than many
spinets & old uprights I have had the displeasure to meet. How do you mean
they will never sound like a modern instrument? I agree that they play a
little bit different, but even with that, they can play much better than
some spinets and old uprights - not that that is saying much, but many
children are faced with learning to play on those instruments. Are you
trying to indicate that a square in good condition will play and sound worse
than a beat-up spinet or old upright?

"the problem of "Cheek Lift"

What is Cheek Lift? Rebuilding is a type of surgery - so why not a cheek
lift? Seriously, I am not familiar with the term.

Terry Farrell

----- Original Message -----
From: "Joseph Garrett" <joegarrett@earthlink.net>
To: <pianotech@ptg.org>
Sent: Tuesday, September 18, 2001 9:10 PM
Subject: Olde instrument Scaling, etc.


> Terry & list,
> To answer your questions directly.
> #1 These instruments should Never be used by students.
> I should qualify that by saying they should never be used by begining
> students. Reason? These instruments will never SOUND  like nor PLAY like a
> modern instrument. They are not designed that way. When a student goes to
> the teacher's, he/she is doing the lesson on a modern piano, (hopefully).
> Then the student goes home to practice on something other than a modern
> piano. It doesn't sound like the teacher's piano and doesn't respond like
> the teacher's piano. This, IMHO, causes confusion, on the part of the
> student, and eventually leads to the student getting frustrated. End
result,
> a bad musical experience for the student AND the parents.
> #2 The scaling of these pianos is different, in many ways. To begin with,
> the scale balance is totally out of whack. This one factor, IMHO, is why
> most techs and players hate them. The Bass bridge strings start out with a
> length that is at least equal to that of a 7' Grand. By the time we get to
> the upper, (tenor), section of the bass bridge, the length is equal to
> approx. a 5' to 5'3" piano. Now, that in itself is enough to mess up any
> balance. But, THEN, we get to the treble bridge. The first strings are
about
> the length of a 6' Grand and get, (quickly), shorter to the point of the
> bridge, where it takes a hard right turn. At that point the strings are
> shorter than just about any piano known to man. THEN, we get to around the
> hard right turn and all the strings are TOO LONG for any kind of upper
> treble scale! All these things have to be considered in proper(?) scale
> evaluation and change. AND IF THAT AINT ENOUGH, we have to ALWAYS keep in
> mind the problem of "Cheek Lift", which is ever present in these
> instruments. A rule I have is: If the piano has "cheek Lift", I will not
> rebuild it, as the structure has already begun to self-destruct and will
> never be even slightly acceptable in end result.
> I hope this answers your immediate questions.
> Best Regards,
> Joe Garrett, Oregon
>
>