<!doctype html public "-//w3c//dtd html 4.0 transitional//en"> <html> <body text="#000000" bgcolor="#FFFFFF" link="#0000EE" vlink="#551A8B" alink="#FF0000">   ETomlinCF3@AOL.COM wrote: <blockquote TYPE=CITE>The Yamaha C7 is the most used piano by recording studios.  (not an opinion, but taken from a recording industries latest report on what are in the studios here in the US)  Out of all the Studios here in the Portland market that have C7's, that has not been a problem. Jim & Richard, No the C7 has a V-Pro plate. Ed Tomlinson</blockquote> That doesnt really suprise me. The Yamaha lends itself rather nicely to being pumped thru an electronic amplifying system. Seems to be easier for many sound techs to work with. Perhaps because (if only partially) of the V-Pro plate and its particular acoustic properties <blockquote TYPE=CITE>  >>>>>>>>>>>>>>>>>> Greetings,      There are several studios here in Nashville that had to get change their C7's because of "plate ring".  Once the producers hear it, it becomes a constant annoyance and the piano goes!   They just got  other C7's to replace the ones didn't work out, so it is not a problem with all of them. I am sometimes tempted to alter the nose bolts to see if a little flex might change it, but since these are relatively new pianos, I haven't seen any percentage in doing that it, yet.     I have not noticed this with any other brands, but that isn't to say that there aren't problems with other.</blockquote> This Does suprise me a bit. Perhaps producers and sound engineers are finnally beginning to demand a more acoustic sound from pianos and a less electric sound ?? <blockquote TYPE=CITE>  Regards, Ed Foote</blockquote> We had a chance a couple years back to compare the sound of a C7 and a S&S B at a concert hall here in Bergen. It is an old (like from 1100 AD) building, origionaly a Royal Hall for one of the Earliest kings in Norway. Used for religious purposes and the like way back then. Its a Stone building with really nice acoustics (for acoustic music) Rougly the length of a football field inside and perhaps 3/4 the width of one. When you sat right up on top of the pianos (as in tuning them) actually the Yamaha sounded really nice at perhaps jumped  out at you even more then did the Steinway. However, standing back at the opposite end of the hall the difference was amazing. The Steinway boomed through the hall, clear as a bell and wonderfully full, the Yamaha was hard to hear, weak and a bit tinny. Walking up the middle of the hall, the Yamaha did not become strong and clear until we were about 30 feet from it. I doubt that this has much to do with the plate, tho I have heard that some tech say the ability of a piano to carry the sound over distance is partially determined by the plates acoustic properties. Just thought I'd share that with ya'll <grin> Richard Brekne I.C.P.T.G.  N.P.T.F. Bergen, Norway </body> </html>