<HTML> </BLOCKQUOTE>    &nbs= p;       Hi  Ron             All good = points as well from another perspective which I respect. However if a client= likes the sound and touch of a good sounding and prepared S&S M regardl= ess of its bass break being where it is, I doubt that my argument to swing t= hem in another direction will be seen as helpful but rather something like a= conflict of interest. If the piano isn't rebuilt well or has a weak board o= r killer region that's a diiferent story. I've often tried to get the  = client thinking bigger S&S or whatever  but if I'm competeing with = whats for sale by someone else as opposed to what I myself  have for sa= le it's an ethical sticky wicket. Usually my services are engaged by clients= knowing I rebuild and sell Stwys so the subject is all ready on the table b= efore I ever see the piano I was originally asked to evaluate.      Regards--Dale                <BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT= : 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px"><BLOCKQUOTE TYPE=CITE style= ="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PAD= DING-LEFT: 5px">Tom, I would advise that you not comment to your client on the design of the pian= o, but stick to what your client wants - an evaluation of the instrument its= elf, the condition, and whether it seems to be priced properly.</BLOCKQUOTE>= What on earth is wrong = with a technician commenting on the design of any instrument? Last time I ch= ecked I didn't notice that any of the manufacturing fraternity were any clos= er to deity status than the rest of us. <BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT= : 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">There are lots and lots of opinions expressed here and othe= r places about what is good or bad in a piano design, but all of these are r= eally meaningless when it comes to personal choice in a piano.</BLOCKQUOTE><= BR> That just depends. I ha= ve no doubt that certain pianos have superior design when compared to others= (and the design superiority will not necessarily be linked to the price of = the instrument). In many cases, an instrument with inferior design will give= inferior performance, regardless of how pristine the particular example may= or may not be. Take the Model M and the Yamaha G2, to take two examples of = status quo 5 and a half foot grands. When the humidity and temperature swing= s, neither of these pianos will have 'a snow ball's chance in hell' of stayi= ng in tune at B27, because the tension is just too low as a consequence of t= he 'hockey stick' lower treble scale. B27 will go sharp if the humidity rise= s and vice versa. I've had the experience= of being recalled to a piano a few days after tuning it, only to find that = the break had gone out of tune thanks to a change in the weather and a lousy= scale design. On one occasion, when I tried to explain that the piano in qu= estion had an inferior scale design which was causing the tuning instability= , I was accused of making excuses for my inability to achieve a stable tunin= g. I didn't appreciate taking the wrap for a major manufacturer's design inc= ompetence. <BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT= : 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px"> I have played and rebuilt many Steinway Ms, and have had g= ood and bad ones just like any other model.  I am not a fan of "compres= sion crowning" of soundboards, but how many fantastic pianos have been made = with this system in mind?</BLOCKQUOTE> But the further questio= n this begs, is how much better might these alleged great instruments have b= een, had they been bellied using an alternative RC process? <BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT= : 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">The temptation is to feel the need to direct the client tow= ards a piano that is your choice.</BLOCKQUOTE> Well I don't think this= will ever change. We can't help making choices - I hope. But it would seem = that some folks might prefer that we don't ever question anything.<FO= NT COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=2 FAMILY= ="SERIF" FACE="Times New Roman" LANG="0"> <BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT= : 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px"> If the client calls and asks for that advice, then you sho= uld give it of course.  When evaluating an instrument for someone, thou= gh, it will keep things simpler for you and your client if you stick to eval= uating that instrument, and not editorializing too much.</BLOCKQUOTE> It might indeed keep th= ings simpler, as you say, but it might also constitute a case of glossing ov= er a few home truths which have come to light in recent times. At 6:46 PM -0400 6/9/03, John Hartman wrote: <BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT= : 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">Tom, It sounds like you think there is something wrong with the design of the M. = I couldn't disagree more strongly. I have rebuilt at least 20 Ms and have fo= und the basic design to be very solid and reliable. While any design can be = improved the M is one of the best small grands available to musicians. Of co= urse I have seen many disappointing Ms but it is failings in execution and c= raftsmanship that are to blame not design.</BLOCKQUOTE> What about the scale de= sign John? I have no doubt that you have the skills necessary to make an M i= nto something that it might not have been, but you will still be stuck with = a scale which is ordinary. No small piano should cross at Bfl26/B27, but mos= t do. This endemic problem of= not making waves is killing the potential that we have to move forward in o= ur industry. I find it frustrating when I hear comments from talented people= who seem to be resistant to the idea of progress unless it comes from one o= f the hallowed manufacturers. I am looking forward to= hearing the fruits of uncle Del's latest contract to design a small grand f= or Walter. I'll wager that the break on Del's grand won't be placed at the i= ncredibly impractical Bfl26/B27. Ron O. -- OVERS PIANOS - SYDN= EY      Grand Piano Manufacturers     _______________________ </BLOCKQUOTE> </HTML>