I think everyone's a little too hung up on what to call it. The Steinway rim (still there) dictates (to some degree) the soundboard thickness and ribbing which should relate to the overall tension level of the scale which in combination contributes to the decision about which hammer to use. The Steinway redesigns that I have been involved in still, I will assert, maintain the same character as the original, they still have lowish tension scales (though not on a D, of course), they still have an accompanying relatively light soundboard with a relatively light rib scale, and much more like the original (early 1900's) ones, they have a fairly light and soft hammer which produces a warm singing tone (without lacquer) with a nice range of timbral dynamics. In my view, these pianos are more like Steinways than a Steinway--at least as they were intended based on what can be inferred by the early modern designs. Of course, I've removed some of the bugs that exist in the scale transitions, dropped the bass tensions and core diameters to enhance the fundamental a bit (who doesn't do that these days), achieved crown with rib shaping rather than compression but the end result is what counts. When a customer walks into my shop, sits down to play a total redesign, tells me that it reminds him of the Steinway he played as a child unlike the ones he now plays in the showroom, who's done their job with more authenticity? The difference is that these bellies will come out with a lot more consistency, predictability and without the warts. Of course, in any design, there are choices to be made: a little more of this, a little more of that. I suppose at some point you could deviate far enough that it would become something quite different. But then, haven't we all heard quite a range of "individual personalities" even with the so-called originals? David Love davidlovepianos at comcast.net www.davidlovepianos.com
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