Steinway O

[Greg Newell]

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Ron,
         I'd love to see the pics! Personally I'd like to hear about the=20
ordeal you had with S&S but the open list isn't perhaps the best place for=
=20
that.

Greg




At 06:11 PM 6/10/2003, you wrote:

>At 10:06 PM +0300 10/6/03, Calin Tantareanu wrote:
>>
>>. . . I am already impressed with its bass, which is damn good for a=20
>>180cm piano.
>>It's a really strong typically Seinway bass, you could even say rough ;-)
>
>Very likely!
>>The only weird thing is, that contrary to what some people here say, the
>>lowest A has a very long string (~140cm if I remember correctly, on a
>>cantilever or apron bridge - what's the correct name?) and a very short
>>backscale, yet it sounds good.
>>What do you think?
>
>Yes it does have a 140 cm speaking length at A1 with a short back scale.
>
>While the instrument might seem to be performing well in the low bass, it=
=20
>would be even better if the speaking length was 4 - 5 cm shorter with a=20
>correspondingly increased back scale.
>
>Yamaha have included the same design shortcoming (from my perspective) in=
=20
>their latest C3. They've gone from a speaking length of around 135 cm in=20
>the previous 183 cm C3 models to around 140 cm in the latest 185 cm=20
>version, with a much shorter back scale. For those of you with the=20
>opportunity to do A-B comparisons between the current and older versions=20
>of the C3, there is no contest. The latest might have the biggest numbers=
=20
>for the sales people to talk about, but what's the use since it doesn't=
 speak?
>
>Same deal with suspended or apron bridges. The inclusion of these in any=20
>piano demonstrates that the designer hasn't been paying attention to=20
>what's coming in via the ears. The O is an ideal piano to ditch the=20
>suspended bridge and undercut a couple of notes, since it has a=20
>straightish bass bridge (the 'hockey stick' style bass bridges don't=20
>respond quite as well to the undercut). The last couple of low notes could=
=20
>be undercut where the bridge meets the sound board panel without any=20
>problems, apart from a considerable tonal improvement.
>
>The front duplexes are also very long on this model. If I were doing the=20
>repair I would cut them out with an angle grinder, fill the 'valleys' with=
=20
>body filler and make up a new set of bars, hardening them, tapering the=20
>height of each to achieve a uniform string approach angle and positioning=
=20
>them to detune the front length while making them as short as possible=20
>(but talk to the client first and get their approval in writing, or you'll=
=20
>have S&S breathing down your neck to ruin your whole year - I lost 1997=20
>but we survived). I'll try to organise an over head photo of the Steinway=
=20
>D which got this treatment late last year if anyone would like to see it.=
=20
>Anyone?
>
>Just play chromatically up the last few agraffe notes of the O, crossing=20
>over into the duplex section to hear the organised chaos which begins=20
>immediately you cross to the duplexed section. When I hear this cacophony,=
=20
>all I want to do is reach for the angle grinder.
>
>Ron O.
>
>--
>_______________________
>
>OVERS PIANOS - SYDNEY
>Grand Piano Manufacturers
>
>Web: http://overspianos.com.au
>mailto:info@overspianos.com.au
>_______________________
>
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>
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Greg Newell
Greg's piano Fort=E9
mailto:gnewell@ameritech.net=20

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