---------------------- multipart/mixed attachment Ron and David, Well guys, you are most certainly not alone. I'm just finishing up= =20 an action, damper, and lyre rebuild job on a "D". Since I used all Renner=20 parts I wonder if the college I'm doing this for would mind terribly if I=20 scraped all the Steinway decals off? Greg Newell At 02:51 PM 5/10/2003, you wrote: >>That's an interesting statement. I wonder how Steinway would interpret >>that. In other words, this piano can sound better, but let's leave it >>sounding less good so that it's more like a Steinway. >> >>David Love >> >> >> > How far can a Steinway get its sound >> > improved without sounding like something other than a Steinway? >> > Ed Foote RPT > > >That's a good question, Ed. Let's find out. But why all this focus on=20 >Steinway? The one single and most important point that nearly everyone is= =20 >ignoring here is that this stuff is not about Steinway at all. It's about= =20 >improving performance of just about any piano out there, provided there is= =20 >a minimum structure to work with in the first place. How far can a Kimball= =20 >get it's sound improved without sounding like something other than a=20 >Kimball? Again, let's find out. We're trying to make whatever piano we are= =20 >working with be the best sounding piano it can be by our efforts. This=20 >stuff works on pianos, not just on Steinways, and has nothing whatsoever=20 >to do with reverential awe of any monolithic object other than the beauty= =20 >of discovery of some of the science behind what makes a piano work - or=20 >not work, and the practical application of those principals in making as=20 >musical a sound as possible come out of any given piano. This is=20 >fundamental working knowledge, folks, not a smoke and mirrors entrenched=20 >belief without practical experience or understanding, and there's still a= =20 >whole lot to discover and learn to use in that pursuit. Progress in=20 >anything requires not only adding to existing knowledge, but leaving=20 >behind past truths that have proven not to be the benefit they were once=20 >thought to be. This is difficult for most of us because we have invested a= =20 >lot of blood and sweat into trying to learn to deal with these existing=20 >warts, even to the point of assigning the least improvable of them the=20 >status of "character" to relieve ourselves of further responsibility in=20 >fixing them. But we find we can fix a lot of them by letting them go and=20 >replacing them with something more mechanically and acoustically workable.= =20 >This requires an open mind and the willingness to evolve as new=20 >information becomes available. That's the tough part. Focusing on one=20 >sacred relic to the exclusion of all other conflicting evidence is not a=20 >growth attitude. > >But that's just what I think. > >Ron N > >_______________________________________________ >pianotech list info: https://www.moypiano.com/resources/#archives > Greg Newell Greg's piano Fort=E9 mailto:gnewell@ameritech.net=20 ---------------------- multipart/mixed attachment--
This PTG archive page provided courtesy of Moy Piano Service, LLC