<table cellspacing="0" cellpadding="0" border="0"><tr><td valign="top" style="font: inherit;"><div>My mistake. Half, maybe full, pinblock blank ( not rough-cut) comes with those Fischer parts. Whole piano with nicely stripped and sanded case also thrown in, free of charge, if wanted.<br />In Athens, Ga..<br /><br />Thumpe</div></td></tr></table> <div id="_origMsg_">
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Euphonious Thumpe <lclgcnp@yahoo.com>; <br>
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<pianotech@ptg.org>; <br>
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Re: [pianotech] Rebuilder in New Orleans <br>
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<td valign="top" style="font:inherit;"><table cellspacing="0" cellpadding="0" border="0"><tr><td valign="top" style="font:inherit;"><div>I'm not in New Orleans and forget the name of the rebuilder I knew there, but whoever looks at this thing should examine the action brackets CLOSELY, as some were of pot metal that is likely rotten, and exact replacements (if replacements at all) are probably not available. If they want to rebuild it, though, I might have a whole set of pristine, new parts for one of these (especially if it's a 5'4"): Abel hammers on new shanks, pins, bass strings, rough-cut pinblock ---maybe even recovered keys on a clean keyframe! ( I forget.) All for 1K. (Oh yeah. And a set of the "replacement" brackets American used to sell, that'll probably need some "fiddling" with to get right.) These are dandy-sounding little pianos, though, when in good
condition!<br /><br />Thumpe<br />(706) 351-7817</div></td></tr></table> <div id="_origMsg_">
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[pianotech] Rebuilder in New Orleans <br>
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<td valign="top" style="font:inherit;">Hi all<div> I have need of a competant rebuilders opinion on the current condition of a 1928 Fischer grand that one of my local cients inherited.The piano is in New Orleans.</div><div> Thanks</div><div>Dale<br><br><br><br><br><span style="font-size:100%;">Sent from my Samsung Galaxy Tab 10.1</span> </div><br>Dale Erwin <erwinspiano@aol.com> wrote:<br><font color="navy" size="2" face="Comic Sans MS, sans-serif">Hi Mar<font size="2" color="navy" face="Comic Sans MS, sans-serif">k<br>
This is a wonderful idea to start kicking around. I'm working on some recording options right now. One is to post these things to U-tube. Its easy and accessible and it won't get caught up in the PTG antics/bureaucracy<br>
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<div style="clear:both;"><font size="1" color="royalblue"><b><font face="Georgia, Times New Roman, Times, Serif"><font color="black"><font color="mediumblue" face="Comic Sans MS, sans-serif">Dale Erwin... RPT</font><br>
</font></font></b></font><font color="darkgreen"><span style="font-style:italic;"><b><font size="1"><font color="black"><font color="blueviolet"><font color="black"> <font color="black" face="Comic Sans MS, sans-serif">Mason & Hamlin</font><font face="Comic Sans MS, sans-serif">/Steinway/</font><font color="black" face="Comic Sans MS, sans-serif">U.S pianos</font><font face="Comic Sans MS, sans-serif"><br>
</font></font></font></font><font color="black" face="Comic Sans MS, sans-serif">www.Erwinspiano.com</font><br>
<font color="crimson" face="Comic Sans MS, sans-serif">209-577-8397</font><br>
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<div style="font-family:arial, helvetica;font-size:10pt;color:black;">-----Original Message-----<br>
From: Mark Dierauf <pianotech@nhpianos.com><br>
To: pianotech <pianotech@ptg.org><br>
Sent: Wed, May 30, 2012 3:22 pm<br>
Subject: [pianotech] mp3 recordings<br>
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Several years ago I made a modest investment in some digital
recording equipment capable of capturing nuances of piano tone. This
included a digidesign mbox 2 (available for <$100 on ebay) a pair
of Behrenger B1 large condenser mics ($100 each new, much less on
ebay), and a pair of stands and cords. The mbox comes with ProTools
recording/editing software and the whole thing is quite portable and
easy to set up and use. The preamps built into the mbox are quite
good for such an inexpensive device and ditto for the mics. My
purpose in getting this equipment was to be able to produce
soundfiles that would be capable of showing off a piano to potential
buyers who might see it advertised on my website. I can say from
experience though that the results are highly dependent not only on
the particular equipment used, but also on the mics and their
positioning as well as (of course) any post-processing done. So
unless everybody is using the same equipment, etc., it's a bit like
comparing apples and oranges, although I still think it could be
informative. Regardless, I highly recommend that rebuilders outfit
themselves similarly in order to be able to post sample files of
their work on their websites. <br>
<br>
For illustration, <a rel="nofollow" target="_blank" href="http://www.nhpianos.com/Rachmaninoff%20Daisies%20S&S%20A%205%2030%2012%20final.mp3">here</a>
is a recording I just made on an A-III that I sold this past
weekend. This is a raw recording with no editing or enhancements,
made in a tiny finished basement room that is absolutely
acoustically dead. <a rel="nofollow" target="_blank" href="http://www.nhpianos.com/Rachmaninoff%20Daisies%20S&S%20A%205%2030%2012%20with%20reverb.mp3">Here</a>
is the same recording with some added reverb to simulate a better
room. (Forgive the wrong notes).<br>
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- Mark<br>
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On 5/30/2012 11:07 AM, Dale Erwin wrote:
<blockquote type="cite"><font size="2" color="navy" face="Comic Sans MS, sans-serif">Hi <font size="2" color="navy" face="Comic Sans MS, sans-serif">Jim<br>
Thank you Jim for the understanding clarifying words.<br>
I made my comments as I did to address the multitude of
impedance variables that Gene was asking about and that Del
clearly referenced in a post the other day. I was hoping to
have a discussion on the literal weight of rib and soundboard
material used and their specific weight in relationship to
impedance. SO for now that'll wait.<br>
I openly risked sharing some general design specifics of
<u>my own recipe</u> & process as another soundbaord model
that is being built and very successfully by our shop. To
answer the question will it still be a Steinway & we
covered a bunch of responses last month under the "Gen-u
-whine Steinway parts" posts.<br>
My response?... I describe the outcome as refining the best
components of the original sound with increased tonal focus
and clarity while eliminating the most inherent glaring
weaknesses such as the 6th octave and bass crossover,
increased projection while still giving adequate feedback to
the pianist at the bench(very important) etc etc etc.<br>
It was not intended to make anyone argumentative and
certainly not defensive. My point was we all have a design
choice to make for artisanal & financial reasons. I find
if I move to far away from the robust Steinway type of sound
etc. described, then some pianists won't go there.<br>
Whatever...I think you called it right Jim. The next best
thing to onsite hearings of differing designs are Mp-3 files.
These of course will have some drawbacks once the actual sound
goes thru the unknown electronic filters and a host of
different types of recorders etc. We must realize that the
piano needs to be listed with its acoustic location and type
of recorder, facts to recall before passing some kind of
subjective evaluation. and...we will need to take it as it is
what it is. Never the less I now think that some reasonable
facsimiles can be made.<br>
I posted about the Zoom H4-N hand held recorder that I
purchased last month. I have now used it on quite a few
occasions & I can speak on this later in detail. In my
opinion it does give a very fair tonal assessment. My goal
quite soon is to post these recordings of various pianos we've
built to my own web site for anyone to hear.This is the next
best thing short of displaying at conventions/rebuilders
gallerys as we can reasonably expect given the world wide
nature of our P-tech audience.<br>
I've said it for years now, we can talk talk, talk but
hearing is believing. That is why I've routinely showcased our
rebuilds/builds at convention for 20 plus years.<br>
Dale<br>
<br>
<div style="clear:both;"><font size="1" color="royalblue"><b><font face="Georgia, Times New Roman, Times, Serif"><font color="black"><font color="mediumblue" face="Comic Sans MS, sans-serif">Dale Erwin... RPT</font><br>
</font></font></b></font><font color="darkgreen"><span style="font-style:italic;"><b><font size="1"><font color="black"><font color="blueviolet"><font color="black"> <font color="black" face="Comic Sans MS, sans-serif">Mason &
Hamlin</font><font face="Comic Sans MS, sans-serif">/Steinway/</font><font color="black" face="Comic Sans MS, sans-serif">U.S pianos<br>
Sitka Soundboard supply<br>
</font><font face="Comic Sans MS, sans-serif">
</font></font></font></font><font color="black" face="Comic Sans MS, sans-serif"><a rel="nofollow" class="moz-txt-link-abbreviated" target="_blank" href="http://www.Erwinspiano.com">www.Erwinspiano.com</a></font><br>
<font color="crimson" face="Comic Sans MS, sans-serif">209-577-8397</font><br>
</font></b></span></font><tt><tt><font color="darkgreen"><br>
</font><br>
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<div style="font-family:arial, helvetica;font-size:10pt;color:black;">-----Original
Message-----<br>
From: jim <a rel="nofollow" class="moz-txt-link-rfc2396E"><jim@grandpianosolutions.com></a><br>
To: pianotech <a rel="nofollow" class="moz-txt-link-rfc2396E"><pianotech@ptg.org></a><br>
Sent: Wed, May 30, 2012 7:19 am<br>
Subject: [pianotech] --Centering the bridge--was S&S
something<br>
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<pre style="font-size:9pt;"><tt>David,
Interesting post.
David, Ron, Dale, Del, etal,
At this point in the discussion that we need mp3 capability! We need a
clear understanding of what aesthetic assumptions are driving each
contributor's design approaches, otherwise its just an hopeless
exercise in conflicting verbosity.
All of what you are saying David, what Dale was saying yesterday, What
Ron has been saying, and Del's voice when he chimes in, as well as mine
and whoever else contributes or lurks in this discusssion, only has
meaning in relation to the aesthetic tonal goals we are looking for in
the tonal palette. Words are useless, unto counterproductive, after a
point, in describing these aesthetic goals.
For example, when I read what David has described in terms of tonal
goals, which I read as more complexity and range of tonal palette which
includes greater noise at the attack (I could be wrong about what
David's getting at...but that's my point, we need the sound), these
words have been used endlessly to describe sounds I can hear in any
conservatory performance instrument; instruments whose sound and touch
I have no desire to reproduce in my own shop.
What venue(s) are the instruments designed for? What types of music, as
my experience of "full expressive range" always means, when push comes
to shove, bloody Lizst and Rachmaninoff (and then I have to leave the
room). In many ways Mozart, Bach and lots of Jazz, music conceived for
small venues, or popular music, very well suffocate under this targeted
late romantic "full expressive range".
So please, we've talked about this for years! Lets create a library of
sounds to accompany your posts. We could link to the main PTG.org in
all its non-functionality, but still the sounds would be there.
It would be a lot of work for the contributors, but I really think the
discussion can only advance with this aural info.
What say?
Jim Ialeggio
--
Jim Ialeggio
<a rel="nofollow">jim@grandpianosolutions.com</a>
(978) 425-9026
Shirley, MA
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