<html> <body> Barbara, et al, At 11:25 AM 3/3/2005, you wrote: <blockquote type=cite class=cite cite=""> Alan,   Tone quality is always an interesting topic to me.  I've gotten rid of a few recordings because I couldn't stand the voicing of the piano.  One was of the 500,000th Steinway (I think), a lot of different artists playing.  To me, it was a really glassy sounding instrument.   I sold the CD to a faculty member.  </blockquote> ...Depending on which recording of the "500,000th" you heard...The reason for this distinction is that the recording that was made at the S&S gala at Carnegie Hall (at which the 500,000th piano was displayed), was not made on that piano; but rather on two different ones - butted toe-to-toe to accommodate the Schumann Carnaval.  The solo piano used in the first half of the program was brassy and unpleasant in the hall (about 1/2 back in the Orchestra section, a familiar location for me; and one from which one can hear whatever is going on in/for a given instrument pretty clearly).  Lazar Berman (recently deceased) hated it, others tolerated it, Alexis Weissenberg played it with obvious disdain.  The piano aside, the real problem with the recording, however was the use of Crown pizeo-electric crystal pickups which were placed on the stage.  These things may be fine for stage and musical productions, but they are positively abysmal for any kind of use with "art" music.  As you note, the result was virtually unlistenable.  (Also, depending on whose digital encoders were used, the problems produced by the instrument itself and accentuated by the use of the pizeo microphones were further exacerbated by an unrelentingly harsh digital sound.  Feh!) <blockquote type=cite class=cite cite="">I'm not sure how I learned to hear the subtleties and form my opinion of piano tone.  But I did practice voicing every chance I had, starting with evening up notes on the pianos I tuned.  Are you a pianist?  As a pianist, I am always looking for the greatest spectrum of tone color available.  When I'm playing, I feel like the piano IS the orchestra, and I want to be able to produce as many different voices possible. </blockquote> That is the point. <blockquote type=cite class=cite cite="">  Recently I serviced the home piano (Steinway B= ) for a university professor (of piano).  When I was at his house he said something to the effect that he didn't want "that generic Steinway voicing."  Let me explain that I've often felt like I'm in minority because it seems no matter where I go, so many of the pianos (not just Steinways) are way too bright--for my taste, anyway.  I can produce that raucous kind of voicing if I have to, but I don't like it and I don't like to have to tune it.  If given artistic freedom, I go for a broad sound--not too bright (but capable of being bright) and not so mellow to rob power.  In fact, at one time I had doubted my voicing strategy (only because it seemed to be different than so much of what I've heard out there), until I got the e-mail from the professor asking me to service his piano.  I'll quote the line that made me want to do cartwheels:   "I have greatest admiration for your ability to bring out the highest artistic potential in pianos."   Well, I'm not sure I actually do, but, golly, I'm going to save that one!  A little affirmation at the right time can work marvels for a person.  OK, I'll stay the course, I'll stick to my ideals.</blockquote> Yes - do save it.  It will do a great deal of good when you get all the others that say something else. <blockquote type=cite class=cite cite="">  Go for it, man!</blockquote> Yup! Best. Horace <blockquote type=cite class=cite cite="">  Barbara Richmond               ----- Original Message ----- <dl> <dd>From: <a href="mailto:tune4u@earthlink.net">Alan</a> <dd>To: <a href="mailto:pianotech@ptg.org">'Pianotech'</a> <dd>Sent: Thursday, March 03, 2005 10:07 AM <dd>Subject: Modern Tone was Restoring Collard & Collard Grand <dd>Joe Garrett said "Tone is nothing lik= e what the past was, IMHO." <dd>  <dd>He was talking about much older instrument= s but it reminded me of a conversation I once had with Ari Isaac. <dd>  <dd>I had asked him how a person can learn to really hear the subtleties of voicing and what a piano should sound like. His response was "Listen to piano music recorded in the 1950's." <dd>  <dd>Alan R. Barnard <dd>Salem, MO <dl> </dl> </dl></blockquote></body> </html>