On 2/6/2011 12:20 PM, Roger at Integra.net wrote: > Terry, > Your question about whether the piano was purposely voiced for the > artist. If it is the house piano, then most likely not. I've been > renting Steinways (Hamburg) in this area (Seattle) for performance for > many years and have been asked in advance if the piano can be "adjusted" > to fit the performance. No way! Those who rent performance pianos could > not possibly "adjust" the tone to suit every musician coming through > town; you'd be replacing hammers every year. Exactly. >. As for what Ron N. said in a previous post, "I hate false > beats". Except that wasn't me. >I've believe I've been able to keep on top of the false beat > situation better with the Hamburg pianos than the New York. I've tuned > NY Steinway almost out of the box that had so many false beats that it > was impossible to clear them out. I have too, but it's not impossible to clear them out. You just have to get past the venerable and mistaken notion that seating strings fixes anything. What is impossible is getting anyone to pay for it. In my opinion and experience, the only pianos that get anything resembling full concert prep are those in a venue that employs the tech that does the prep. Contract tuning gets a tuning, and a few of the worst damper oinks addressed - maybe. Terry, It's also been my experience that no matter how dead the soundboard, no matter how badly the lower tenor honks, and no matter how short the tone or wild the strings in the treble, it's a "Concert Steinway Grand", so it must be a good one. Sometimes the tech knows the difference, sometimes not. Knowing the difference means that the tech will be perpetually frustrated in attempting to inform anyone else of the real problems, so he deals with what he's got in the best manner he can. Ron N
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