<html xmlns:v="urn:schemas-microsoft-com:vml" = xmlns:o="urn:schemas-microsoft-com:office:office" = xmlns:w="urn:schemas-microsoft-com:office:word" = xmlns="http://www.w3.org/TR/REC-html40"> <head> <meta http-equiv=Content-Type content="text/html; = charset=us-ascii"> <meta name=Generator content="Microsoft Word 11 (filtered medium)">  <style>  </style>  </head> <body bgcolor=white lang=EN-US link=blue vlink=purple> <div class=Section1> Joe:<o:p></o:p> <o:p> </o:p> Your “tin can” comment below is close, but no = cigar.  We have 10 practice rooms reserved for piano majors with 10 Steinways (5 = Ms, 4Ls and a B)  The rooms are tin cans.  If you can imagine a = room with a B that can hold the B, a bench and a small to medium sized = student.  How do you get a sound that isn’t too loud?  I have encouraged = students to invest in some kind of hearing protection.  Generally they do = leave the short lid closed with the music desk sitting on top of the piano.  = In spite of the fact that this makes the music awkwardly high, it’s = better than going deaf before lunch.  I have steamed the hammers = (doesn’t last) I’ve fabric softened the hammers (doesn’t last and = causes the hammers to loose their shape) needled the hammers (really nothing = lasts).  These pianos are played very hard and in a room about 5% of the size = room these pianos were made to fill.  In our case at least it’s not the = pianos, but the rooms.  <o:p></o:p> <o:p> </o:p> All our rooms do have walnut paneling and in the next year there = is to be some acoustic modifications made to them.  The goal is to reduce = volume in the rooms and cut down sound transfer between the rooms.  (Right = now we have a lot of Mozart/Liszt collaborations that you don’t want to hear!)  <o:p></o:p> <o:p> </o:p> When you think practice rooms, remember that these are often = really nice pianos in extremely small rooms!<o:p></o:p> <o:p> </o:p> dp<o:p></o:p> <o:p> </o:p> <div> David M. Porritt<o:p></o:p> <a = href="mailto:dporritt@smu.edu">dporritt@smu.edu</a><o:p><= /o:p> </div> <div> <div class=MsoNormal align=center style='text-align:center'> <hr size=2 width="100%" align=center tabindex=-1> </div> From: pianotech-bounces@ptg.org [mailto:pianotech-bounces@ptg.org] On Behalf Of Joe Garrett Sent: Saturday, March 05, = 2005 1:02 AM To: pianotech Subject: Re: Modern = Tone<o:p></o:p> </div> <o:p> </o:p> <div> Kudos to y'all. When I made that comment, I didn't = think it would get the positive response that it has.<G> So far, I see that = most of y'all are trying to get the tone that was so common in the 40's & = 50's! Yahoo! I now know I'm not alone in this endeavor. My feeling is that = most people, associated with music, get used to what they are subjected to, = on a regular basis. And, this seems to "set" their perception of = tone in the piano. I sad thing, IMO, is that most academic environs, have = horrible "tin can" type pianos in their practice rooms, etc. and are = really trashing our young musicians tonal = perception.<o:p></o:p> </div> <div> Granted, for most modern music, of the = "pop" venue, somewhat brighter is called for, IMO. However, the real problem = lies in the perception that Bright translates into "projection", which = just ain't true. (Kinda like an electric guitar player cranking up the volume = to be heard and all that accomplishes is distortion, IMO. Oh well, at least = there are those of us that strive for = balance/tone/harmony.<o:p></o:p> </div> <div> Best Regards,<o:p></o:p> </div> <div> Joe Garrett, R.P.T. Captain, Tool Police Squares R I<o:p></o:p> </div> </div> </body> </html>