No doubt a new board (assuming it did not receive one in the stated "rebuild") would be a big help. But ethics and good judgment play a role here. Before any comments are made to the piano owner that a new board is the only way to enliven the tone, every reasonable and obvious effort needs to be made to prep what is there. The rebuilder's comment that the original tone was dull to begins with is pointless. Also, it appears that the rebuilder is either not interested in following up or is not sure what to do in any case. First of all, it hasn't been made clear to me if the owner / player is complaining about the dull tone. And I take your assessment at face value that the tone is dull since you refer to it as "Dull City". I have known many fine pianists, two on the UCLA music faculty, who prefer such a muted tone above all else. I would venture to say that the vast majority of us would condemn the tone as dull and badly voiced. So, again, what does the owner think? Assuming that the owner is happy, then leave well enough alone, expect to point out for the record that most pianists prefer more bite to the tone. Exercise a good deal of caution in convincing the owner that something is terribly wrong, unless there is something demonstrably and terribly wrong. Be very careful in considering making pronouncements that a new soundboard is required, etc. Now, if the owner is seriously complaining and has asked you to assess the entire performance capabilities of the piano, that is a different story. Now, technically, and regarding the existing hammers and belly only, I rely on a version of the "pluck test". I use a maple plectrum wedge about 3" long and the sharp end is quite thin and actually flexes when applied to the strings. Strum the strings (unisons) in question and listen for the high, tinkling overtones. If you can hear these with the plectrum, but cannot with the hammer, then you can get more from the hammer through juicing (re-read David L's paper). Use of the plectrum is generally limited to closer to the bridge rather than the capo bar. Try to strum the strings, firmly and repeatedly, at a distance from the bridge that more or less matches that of the hammer strike point from the capo bar. Alternate the strumming with hammer strikes. If the soundboard is really dead (or other belly type issues exist), the higher partials will be muted and the strumming and dull hammer strikes will "sound" the same. Takes a bit of practice but works for me (mostly, anyway). Keep us informed. On Wed, Apr 6, 2011 at 6:06 PM, Richard Ucci <richarducci at comcast.net> wrote: > List, > I have a client with a 1890's B which was rebuilt last year. It's one of > those with the round red understring felts in the treble, with new Steinway > hammers. Serial #63710. > The treble section all the way to the top is DULL CITY. The rebuilder said > it was the it was made. This piano has only 85 keys. > What would be the best way to bring it up? > > > Rick Ucci/ Ucci Piano > www.uccipiano.com > > -- Nick Gravagne, RPT AST Mechanical Engineering
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