<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN"> <HTML><HEAD> <META http-equiv=Content-Type content="text/html; charset=US-ASCII"> <META content="MSHTML 6.00.2900.2963" name=GENERATOR></HEAD> <BODY id=role_body style="FONT-SIZE: 10pt; COLOR: #000000; FONT-FAMILY: Arial" bottomMargin=7 leftMargin=7 topMargin=7 rightMargin=7> <DIV> <DIV>  Ric</DIV> <DIV>  Good report.  Did they do any thing about the funky way they set up the action?</DIV> <DIV>  Dale:</DIV> <BLOCKQUOTE style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: blue 2px solid">Hi folks Just back from a very successfull Nordic Piano Convention 2006.  Many highlights to be sure. Roger Jolly did a phenomenal job with his seminar.  But here I just wanted to submit a quick review of the new Petrof 210 grand. Many of you know I have this love / hate affair with Petrofs.  This new model is definatly going to make me move in the direction of the former and away from the later.  Several interesting new bits for Petrof in addition to a clearly three or four notch climb in basic quality control issues.  The instrument takes into use some of the design issues discussed frequently on this list.  A full sized cutoff bar and the employment of the fish are included.  The soundboard is tapered in Steinway like fashion but with the goal of having the thickest part under the long bridge at all times.  In addition the ribs are machined such that they are thickest directly under the long bridge. There is a <<tension regulator/collector>> installed in the form of a turnbuckle that connects the belly rail to the plate at the pinblock between the bass tenor break. Individually tied strings are also a change. I'm sure there is much more that I should include, but perhaps Kjell or one of the other fellows on hand may pipe in with some more details. The sound of this piano was curiously very much akin to the kind of sound I was picking up from the Overs piano, and to a lesser degree the Nossaman B. Especially in the higher treble area.  In contrast to the kind of bell like klang that Steinways functioning at their best attain,  I would describe the high treble in these three as being more <<chime>> like.  It is a particularly beautiful characteristic in my opinion. I wonder however, how this will be accepted in a world that seems to have decided it likes the Steinway picture.  For myself... I love variety and hope for its success as I hope very much for the success of the Overs endeavor. I cant help tho thinking of many comments I have from teachers, students and visiting pianists about our CF 111. This is the most beautiful 9 foot Yamaha I've ever run into and one of the nicest all around concert grands I've seen.  Yet nearly everyone who plays on it sees it as limited in terms of what kind of music it is appropriate for.  And they nearly all point to the sound of the last two and a half octaves. Its sound goes off in another direction entirely... and I at the moment lack a colorful descriptive to offer... but it is clear and resonant in a very different fashion then Steinways are thats for sure. Anyways... for my part... Petrofs have jumped a couple hacks up the ladder in quality and musicality.  It is my understanding they are going to employ most of these design modifications to each of present grand models and that this process will be complete in the next couple years. Petrof seems committed to entering the higher quality market with a classic central European sound clearly coloured by the sum of these new (for them) design issues.  I for one applaud their effort in this regard Cheers</BLOCKQUOTE></DIV> <DIV></DIV> <DIV> </DIV></BODY></HTML>