Problems with new Steinways

[William R. Monroe]

Hey Ric, List,

I think the rest of the folks who were complaining would agree with this, 
but their point, I think, is that for the $$ S&S charges, one should 
reasonably expect more.

I find now that when clients ask me, what piano would I choose, if I had to 
just pick one, sight unseen, that Kawai and Yamaha, not to mention S&S 
Hamburg, would easily be ahead of NY S&S.  You just never know what you will 
get.  I service a number of newer S&S and am pretty regularly disappointed, 
particular in the action, and the relative playability of the instrument.

Yes, they are diamonds in the rough, but when one expects a diamond, they 
quickly turn to coal.  Great pianos to rebuild, though. ;-]

Best,
William R. Monroe


> Hi David, Tom and others
>
> David  A. puts things about as well as they can be put me thinks.  As I've 
> said on a number of occasions, I cant really speak too directly about the 
> NY variant, and David underlines this eloquently.  Yet he turns around and 
> describes the NY instrument as rough diamonds.  And in doing so the whole 
> discussion takes a turn in another direction which he equally eloquently 
> turns to himself. And I guess this is the kind of thing I personally have 
> been looking for in all this... a positive forward looking tact. It also 
> explains why the question Ron N puts so compellingly seems to contradict 
> the more damning criticisms that are also put forward in the mesh of all 
> this discussion about Steinways NY.  And it more then satisfactorilly 
> takes care of my own head scratching about how Steinway could be doing so 
> very very well if the picture was indeed as bleak as it sometimes seems 
> here. ..............................
>

> Cheers
> RicB
>
>
>    The reality is the entire world knows Steinway by the Hamburg 
> instruments; only the US knows them through the New York pianos;  thus, 
> the iconic, legendary rep is in MOST cases deserved, because  generally 
> Hamburg Steinways are among the best pianos in the world,  and the actions 
> are well-made and well-balanced. The New York  instruments' actions are a 
> different story, and you can't know how  true this is, European, Asian, or 
> South American techs, because you  have little or no personal experience 
> with the New York pianos, or  perhaps with a highly tweaked and 
> retrofitted performance instrument.
>
>    The standard of action ratios and final fabrication tolerances is a 
> different world between Hamburg and New York, and that's the truth.  My 
> close colleagues and I have been scratching our heads and 
> yakking---bitching, really---about this disparity for 30 years.  The  way 
> I choose to frame it now, to myself and others, is this:  I don't  know 
> why the situation is what it is---I can't personally figure out  the value 
> in it---but I accept it as how it is, and perceive new and  newish 
> American Steinways as diamonds in the rough---ready to be  polished and 
> finished into something beautiful. And they can be; it  just takes a 
> little more money and attention. Like AMG and Mercedes:   AMG takes the 
> finished product, and then tweaks and finishes it to  their 
> standard---performance modification, performance enhancement,  souping it 
> up, tweaking it out.
>
>    Not a deficit, but a possibility. This way of thinking and seeing has 
> helped me to be less of a bitter old gossip, and more of a proactive 
> artisan. My clients like it better, too---a positive spin rather than  a 
> negative, without lying to anyone. Half full, not half empty.
>
>    Now for another half cup of coffee, and to work.
>
>    Cheers----
>
>    David Andersen
>    Malibu, CA
>
>
>