CBS years at S&S was improvements

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Richard writes: 
>Here we have this "mature" concept again. Despite all the scientific
>explainations why this can not be so... time and time again people have
>this observation that instruments can get better as they get older.

      I think there are a number of things that allow a piano's aging to be 
regarded as "maturing'.  
The action felts become compacted, transferring energy more directly between 
the key and the string.  This is why the finest "feel" comes after a piano is 
played for a year and then carefully regulated.  Pianists know the 
difference, they often call it being "played in", but as a mechanic, I know 
what the changes are. The soft balance rail felt, capstan felt, and knuckle 
all absorb energy when very soft.  When they have lost some of this 
sponginess, the action feels differently. 
    The strings tension is transmitted to a wooden case. The case vibrates 
when the strings do, and with time, the soundboard drops.  This is due to 
deformation of the wood cells, and in the process, the entrainment of the 
entire system changes.  (string instruments like guitars and violins have a 
very different sound when first played after sitting a long time. After a 
week or so of regular use, they produce a different 'voice'.  Doesn't wood 
continue to relieve the stress it suffers long after the initial tension is 
applied?  
    Strings take time to stabilze in the non-speaking lengths.  It is 
possible that the process causes a difference in the efficiency of the 
longitudinal vibrations' reflection.  I know that slight taps at the bends 
over the aliquot bars, behind the distal bridge pin,  and behing the capo bar 
can usually increase the sustain.  In the absence of this tapping, time will 
do much the same,(though not all the way, since the close the string gets to 
a straight line, the less effect tension will have on the straightening 
process).   
     Finishes on the soundboard continue to age after the first month or 
year, though I don't know how much difference this makes. 
  And finally,  the finest sounding hammers I have heard are those that were 
initially softer than optimum and as a result of playing, developed a tonal 
range. Tone that on ppp playing was mostly fundamental with a trace of the 
really high partials that result from a shallow area of compaction on the top 
of the hammer and on FF playing had a lot of midrange added.  You can't get 
there with lacquer, you can't get there with tight hammers and lots of 
needles.  You can only get there with playing.  
   There is a lot to be said for  "maturation", and I know a green piano when 
I play one. 
REgards, 
Ed Foote RPT