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<DIV>That would be a question that has been asked "Oh about 12 million times=
" by everyone from dealers to techs to pianists. I have several theorie=
s. </DIV>
<DIV> </DIV>
<DIV>One is that they are doing exactly what they always did and that the de=
aler has always had an in house tech who would fine regulate and voice on th=
e spot. I suppose 100 years ago when you put a piano on a wagon or tra=
in to go 900-3000 miles you weren't very concerned about the fine details of=
voicing. I do note that when I see a fresh one out of a box that seem=
s to have been crated in the very recent past that they are much more close =
to being well regulated than they are when they have hung around a while bef=
ore being boxed. I think production schedules and time of year have a =
lot to do with that. Typically after they have been around for 4 -5 weeks th=
ey have settled enough for fine tuning and have rid themselves of the greeni=
es.</DIV>
<DIV> </DIV>
<DIV>Two is that the demands of the piano buying public don't equate with ca=
reful regulation and voicing. No one comes in and is able to say the le=
t off is too far away, the frame isn't bedded. All they say is that the=
y usually want it brighter or either do or do not like it. It seems to=
me that more effort has been put into coming up with exotic woods to appeal=
to decorators than in producing a piano that has no warts or minor flaws.&n=
bsp; The frustrating thing is that there aren't many major problems - it's a=
ll just little tiny changes and adjustments that make it better. The l=
ast 10% seems to make 100% difference.</DIV>
<DIV> </DIV>
<DIV>My approach to getting these pianos ready for professional use is: Tune=
, reduce friction, even out friction, tune, regulate, tune, voice -&nbs=
p;in a nutshell. TP</DIV>
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