<div>Friends,</div> <div> </div> <div>Dale Erwin asked me to share with the List (though some, mostly editors, have seen it before) this article that I wrote and which was published in the September 2006 issue of The Wippenpost, the Chicago Chapter newsletter, of which I am the editor.  If it can add to this discussion in any way, I am happy to do so.</div> <div> </div> <div class=MsoNormal style="MARGIN: 0in 0in 0pt">One View of a Multi-faceted Convention, June 06, <?xml:namespace prefix = st1 ns = "urn:schemas-microsoft-com:office:smarttags" /><st1:place><st1:City>Rochester</st1:City> <st1:State>NY</st1:State></st1:place><?xml:namespace prefix = o ns = "urn:schemas-microsoft-com:office:office" /><o:p></o:p></div> <div class=MsoNormal style="MARGIN: 0in 0in 0pt"><o:p> </o:p></div> <div class=MsoNormal style="MARGIN: 0in 0in 0pt">   Having attended only three previous conventions, I may not be the best person to comment, but it seemed that this convention was divided into offerings for specific groups of techs more than had previously been the case.  There was a track for new techs which also featured a hands-on skill building session immediately following each class; there were tuning classes presenting theoretical information, practical tuning tips and historical tuning background; there were classes concerning the use of ETDs, Verituner, Cybertuner and SAT; there were classes on field maintenance…hammer shaping, regulation, etc.; there were classes on voicing, even one on voicing the harpsichord; there was a class with a skill session following on servicing pneumatic player pianos!  Jack Wyatt and Laura Olsen presented their Evolution of the Piano Action, following up on what they had presented last year in Kansas City.  There were classes by major manufacturers…Steinway, Kawai, Mason & Hamlin, Samick, Yamaha and Boesendorfer.  And, new to this convention, a major effort in presenting the Rebuilders’ Showcase, featuring classes by no fewer than 13 instructors, 2 of whom are university-based researchers and the remaining 11 are recognized rebuilders/remanufacturers.<o:p></o:p></div> <div class=MsoNormal style="MARGIN: 0in 0in 0pt">   Not being able to attend all of the classes in which one is interested is always the major frustration of a convention…we complain, but we know there will be next year.  This year I chose to spend most of my time in Lilac South, which was the primary venue for the Rebuilders Showcase.  Even there it was nearly impossible to sample everything presented, but several of the presenters were people I had previously met or with whom I had at least e-mail contact.  These are world-class folk, in their rebuilding, their research and particularly, in their willingness to share openly with one and all having interest in the process.  Not only were the classes interesting, but the mini-concerts following each one (an Eastman student playing that rebuilder’s piano) showed clearly and VERY musically just what fine work each is doing.  WARNING:  The following statement is the opinion of the writer and is presented as factual only in the perceptions of said person!  In the process of these classes/concerts, my piano ears have been thoroughly cleaned, rearranged and astonished by no fewer than four of the pianos I was privileged to hear.  Three of them are rebuilt/remanufactured Steinways, while one is a newly built piano using a Samick shell and plate, heavily modified.  <o:p></o:p></div> <div class=MsoNormal style="MARGIN: 0in 0in 0pt">   Beginning with the last instrument, Ron Overs brought his piano #6 from <st1:place><st1:City>Sydney</st1:City>, <st1:country-region>Australia</st1:country-region></st1:place>, and treated us to a class on its design and manufacture, followed by a mini-concert on that instrument (it has been sold and is now in possession of a person in <st1:City><st1:place>Boston</st1:place></st1:City>.  Ron O. has told me that he likes it a lot!).  This piano was absolutely even from bottom to top…not overwhelming in the bass as are some, but consistent and pleasing from end to end.  The action is of Overs’ own design, built for him by Tokiwa.  The belly braces were rearranged, braces added for stiffness and a laminated (gasp!) soundboard built, rib-crowned and supported.  A most impressive instrument!  David Andersen, of <st1:place><st1:City>Malibu</st1:City> <st1:State>CA</st1:State></st1:place>, described his business of custom restoration, showing his magnificent Steinway C with a soundboard built by Dale Erwin, from <st1:place><st1:City>Modesto</st1:City> <st1:State>CA</st1:State></st1:place>, and the rest of the piano rebuilt completely by Dave and his shop and design partner, Steve Bellieu.  (In a later correction to this article, it was explained that Dale had designed the entire belly AND had provided an entirely new action and keyboard, as the piano had arrived with an unworkable, nonstandard action and keyboard.  Dave and Steve had weighed off and tweaked the action further, resulting in wonderful touch and control.)  In the mini-concert that followed, my bell was rung completely by that instrument—after a life spent in music, I have now heard THE finest piano sound I’ve ever experienced.  The instrument positively sparkles!  In addition, the keyboard has been painstakingly balanced, a feature that the pianist complimented profusely after his performance.  And, as if that weren’t enough, the next class featured Dale Erwin’s Steinway D, another total rebuild complete with his own redesigned belly.  Close on the heels of the C, this D acquitted itself so very well in performance that it is only by the very slimmest of margins that it occupies the number two spot in my personal pantheon of piano sound.  The fourth piano was brought by Ron Nossaman, from <st1:place><st1:City>Wichita</st1:City> <st1:State>KS</st1:State></st1:place>, a Steinway B with a new rib-crowned and supported soundboard, redesigned belly work, new string scale, vertical hitch pins and a transition bridge for the low tenor with wrapped bi-chords, virtually eliminating any audible break between bass and treble.  This instrument also acquitted itself extremely well in the mini-concert following the class explaining the redesign, particularly of the soundboard.  (The pianist kept playing softer and softer, as though testing the limits.)  Was this an experience, or WHAT??!!<o:p></o:p></div> <div class=MsoNormal style="MARGIN: 0in 0in 0pt">   It is sincerely hoped that the Rebuilders Showcase was not a one-time experiment.  It was constantly busy out in the display area and the classes were packed…Del Fandrich anticipated 40 people…he got 120!  So went the rest of the classes, as well, including the one where Terry Farrell of Tampa FL demonstrated how to lay up 3mm thick spruce planks for soundboard ribs, using a 5 meter radiused caul, a vacuum bag and a vacuum pump, which ran DURING the class, in the end showing a block out of which laminated ribs could be cut and shaped.  His point?  That the process is simple enough to be done EVEN IN THE CLASSROOM, many miles from the shop!<o:p></o:p></div> <div class=MsoNormal style="MARGIN: 0in 0in 0pt">   Fascinating classes, wonderful instruments, warm, sharing people…how long has it been since you attended a convention?  My advice is to consider it for next year…hope to see you there!<o:p></o:p></div> <div> </div> <DIV>Stan Ryberg Barrington IL jstan40@sbcglobal.net</DIV>