This is a multi-part message in MIME format. ---------------------- multipart/alternative attachment MessageHello Jerry, Alan and List Let us not forget Roger Jolly's wonderful steam approach. He sent me a = copy of his treatise on the subject and I've tried it. It works. = Needle-less voicing... worth a thought? Non? Michael G.(UK) ----- Original Message -----=20 From: Jerry Cohen=20 To: 'Pianotech'=20 Sent: Sunday, March 06, 2005 3:28 PM Subject: RE: Modern Tone II, the Return of the Question -----Original Message----- From: pianotech-bounces@ptg.org [mailto:pianotech-bounces@ptg.org] On = Behalf Of Alan Sent: Sunday, March 06, 2005 1:08 AM To: 'Pianotech' Subject: RE: Modern Tone II, the Return of the Question P.S. Part of my pursuit of this at this time is a desire to rescue an = area Methodist church from the shrill, busy, ultra-bright, piercing, = stident, trident (gummed up) sound of the little Samick SG-172 grand = they bought. I'm pretty sure it's going to start with some serious = string seating, bridge pin stabilization, and regulation--followed by a = session in the back room with those hammers ... under a bright light ... = with a rubber hose and brass knuckles, to soften them up. I don't THINK = I could make it worse, even with what I know, now. And, no, there are = no other guild techs within two hours of here and no local yokels I'd = want to invite to help. I am alllllll aloooooooone here in the elephant = ivory graveyard. Alan, I think the Samick is an excellent piano to start learning with. I did = some voicing on one a few weeks ago. It was also shrill and painful to = tune. The hammers are actually decent quality, and with needling, you = can create nice elasticity in the shoulders, and create whatever you = want as you approach the top. Since you are just starting, my advice is to make some improvement in = some section. If you try to do everything, you will get frustrated and = lose perspective. For example, even though the whole piano sounds = shrill, try to find one octave that is a little worse (or a lot worse) = than the rest. Work only on that section, and try to make it blend = perfectly with the rest of the piano. By doing this you will be = developing your skills at not only tone building, but also creating an = even line. After you have finished that section, pat yourself on the = back, and leave the piano for maybe a week or two. Then you can start = working on other sections. If you work on the whole piano at once, you = can easily lose your reference.=20 We met briefly during Don Mannino's voicing class in Sacramento. While = he spent more time on pre-voicing, he really did demonstrate most of the = principles of voicing. I suggest starting with the shoulders, trying to = feel the elasticity being created. Work on one note at a time. Make a = few stabs, front and rear, and listen to the result. The difference = should be heard in the mF and F levels. Listen very carefully. When you = hear a difference, move to the next note, even if you haven't finished = the first one. Remember, the needling tool works a lot better than the = unneedling tool! Eventually you can start working up to the crown, but = stay away from the strike point for now. Use this area to create a nice = mp and p sound. The final result should be nice tone which has variety = from pp to F. At FF it should start to crash. Then you have created the = full dynamic range of the piano. It was good to meet you last month, however briefly, and I hope this = helps. Jerry Cohen NJ Chapter -- No virus found in this outgoing message. Checked by AVG Anti-Virus. Version: 7.0.308 / Virus Database: 266.5.7 - Release Date: 03/01/2005 ---------------------- multipart/alternative attachment An HTML attachment was scrubbed... URL: https://www.moypiano.com/ptg/pianotech.php/attachments/96/35/b6/fb/attachment.htm ---------------------- multipart/alternative attachment--
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