<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN"> <HTML><HEAD><TITLE>Message</TITLE> <META http-equiv=Content-Type content="text/html; = charset=iso-8859-1"> <META content="MSHTML 6.00.2900.2604" name=GENERATOR> <STYLE>@font-face { font-family: Tahoma; } @page Section1 {size: 8.5in 11.0in; margin: 1.0in 1.25in 1.0in 1.25in; } P.MsoNormal { FONT-SIZE: 12pt; MARGIN: 0in 0in 0pt; FONT-FAMILY: "Times New Roman" } LI.MsoNormal { FONT-SIZE: 12pt; MARGIN: 0in 0in 0pt; FONT-FAMILY: "Times New Roman" } DIV.MsoNormal { FONT-SIZE: 12pt; MARGIN: 0in 0in 0pt; FONT-FAMILY: "Times New Roman" } A:link { COLOR: blue; TEXT-DECORATION: underline } SPAN.MsoHyperlink { COLOR: blue; TEXT-DECORATION: underline } A:visited { COLOR: purple; TEXT-DECORATION: underline } SPAN.MsoHyperlinkFollowed { COLOR: purple; TEXT-DECORATION: underline } P { FONT-SIZE: 12pt; MARGIN-LEFT: 0in; MARGIN-RIGHT: 0in; FONT-FAMILY: = "Times New Roman" } SPAN.EmailStyle18 { COLOR: navy; FONT-FAMILY: Arial } DIV.Section1 { page: Section1 } </STYLE> </HEAD> <BODY lang=EN-US vLink=purple link=blue bgColor=#ffffff> <DIV>Hello Jerry, Alan and List</DIV> <DIV>Let us not forget Roger Jolly's = wonderful steam approach. He sent me a copy of his treatise on the subject and I've = tried it. It works. Needle-less voicing... worth a thought? Non?</DIV> <DIV>Michael G.(UK)</DIV> <BLOCKQUOTE dir=ltr style="PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; = BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px"> <DIV style="FONT: 10pt arial">----- Original Message ----- </DIV> <DIV style="BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: = black">From: <A title=emailforjc@yahoo.com = href="mailto:emailforjc@yahoo.com">Jerry Cohen</A> </DIV> <DIV style="FONT: 10pt arial">To: <A = title=pianotech@ptg.org href="mailto:pianotech@ptg.org">'Pianotech'</A> </DIV> <DIV style="FONT: 10pt arial">Sent: Sunday, March 06, 2005 = 3:28 PM</DIV> <DIV style="FONT: 10pt arial">Subject: RE: Modern Tone II, = the Return of the Question</DIV> <DIV> </DIV> <DIV class=Section1>     -----Original Message----- From: = <A = href="mailto:pianotech-bounces@ptg.org">pianotech-bounces@ptg.org</A> [mailto:pianotech-bounces@ptg.org] On Behalf Of Alan Sent: Sunday, = March 06, 2005 1:08 AM To: 'Pianotech' Subject: RE: Modern Tone II, = the Return of the Question     P.S.  Part of my = pursuit of this at this time is a desire to rescue an area Methodist church from = the shrill, busy, ultra-bright, piercing, stident, trident (gummed = up) sound of the little Samick SG-172 grand they bought. I'm pretty sure it's = going to start with some serious string seating, bridge pin stabilization, and regulation--followed by a session in the back room with those hammers ... under a bright light ... with a rubber hose and brass = knuckles, to soften them up. I don't THINK I could make it worse, even with what I = know, now.  And, no, there are no other guild techs within two = hours of here and no local yokels I'd want to invite to help. I am alllllll aloooooooone here in the elephant ivory graveyard.     Alan,   I think the = Samick is an excellent piano to start learning with. I did some voicing on one a = few weeks ago. It was also shrill and painful to tune. The hammers are = actually decent quality, and with needling, you can create nice elasticity in = the shoulders, and create whatever you want as you approach the top.   Since you = are just starting, my advice is to make some improvement in some section. If = you try to do everything, you will get frustrated and lose perspective. For = example, even though the whole piano sounds shrill, try to find one octave that is a = little worse (or a lot worse) than the rest. Work only on that section, and = try to make it blend perfectly with the rest of the piano. By doing this you = will be developing your skills at not only tone building, but also creating an = even line. After you have finished that section, pat yourself on the back, = and leave the piano for maybe a week or two. Then you can start working on = other sections.  If you work on the whole piano at once, you can easily = lose your reference.   We met = briefly during Don Mannino’s voicing class in Sacramento. While he = spent more time on pre-voicing, he really did demonstrate most of the principles = of voicing. I suggest starting with the shoulders, trying to feel the = elasticity being created. Work on one note at a time. Make a few stabs, front and = rear, and listen to the result. The difference should be heard in the mF and = F levels. Listen very carefully. When you hear a difference, move to the = next note, even if you haven’t finished the first one. Remember, the = needling tool works a lot better than the unneedling tool! Eventually you can start = working up to the crown, but stay away from the strike point for now. Use this = area to create a nice mp and p sound. The final result should be nice tone = which has variety from pp to F. At FF it should start to crash. Then you have = created the full dynamic range of the piano.   It was good = to meet you last month, however briefly, and I hope this = helps.   Jerry Cohen NJ Chapter   <BLOCKQUOTE style="MARGIN-TOP: 5pt; MARGIN-BOTTOM: 5pt; = MARGIN-RIGHT: 0in">  </BLOCKQUOTE></DIV> -- No virus found in this outgoing = message. Checked by AVG Anti-Virus. 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