Yamaha C3 voicing

Roger Jolly baldyam@sk.sympatico.ca
Wed Oct 18 20:30 MDT 2000


Hi Lawrence,
                    I'm back safe and sound, for me the convention was very
rewarding, with some wonderful exchanges of ideas. The hospitality and
fellowship was second to none. BRAVO.

Let me start by saying very clearly, steam voicing is not the only method
that I use.  Over a long period of time, I have probably tried most know
methods of voicing, and they each have their place in our bag of tricks.

The article's I have written, and the class I teach is titled  CONTROLABLE
STEAM VOICING.
The rational, is that my method targets the shoulders and crown in two
separate operations, in the manner that you would use in traditional
voicing techniques.

I mention in my classes that Yamaha USA does not condone steam voicing, out
of a deep respect for the company, and in light of some of the horror
stories that I have heard re warranty claims, I feel that I'm being fair.

Most of the damage has been done with the steam kettle technique, some by
the use of Sgt Steam.
This may be great for removing key bushings, but in my opinion, has no
place when working with hammers.

LaRoy was very gracious, and acknowleged to the group that the method was
controlled, and was different that the techiques that have been causing
Yamaha so much grief.

Despite recieving Yamaha training I like to very lightly steam, and then do
the finish voicing in the traditional manner.

With regards to voicing, there is no panacea for all situations, each type
of piano, and hammer will respond differently for each technique. e.g.  Do
not voice the crown of a Yamaha in the same manner as a Steinway, you may
end up with a dead sounding instrument.

For the most part, follow the respective manufacturers directions, they
have a tone quality in mind, and have spent a great deal of time and
research investigating what they feel is best for their instruments.

Once you gain some experience with a variety of techniques, then you will
be in a position to make sound judgements of what to use.

Practicing a new technique to you, on a customers piano is not right in my
book, unless you have had some tuition or mentoring.  Or you are prepared
to replace a set of hammers at your own expense, if the job is not to the
clients satisfaction.

As University tech's we are confronted daily, with over used practice room
pianos, and under funded service budgets.  Some U1's that had hammers
changed 4yrs ago have been steamed twice per year, with out need for re
shaping. It is fast and convenient and has made the instrument tolerable in
the small space allocated. 

Like all good thing's common sense has to prevail.

I hope this clarifies my position.

Regards Roger

>
>Jeff & List-
>
>At our very recent Ohio State Seminar, Roger Jolly gave an expanded
>presentation on his regulation and voicing methods, which include steaming.
> In attendance at the steam-voicing segment of his presentation was LaRoy
>Edwards.  Yamaha has to date spent over $250K replacing hammers on Yamaha
>pianos that have been over-steamed and ruined by technicians who then
>blamed Yamaha for the problem.  Careful, careful, careful with the steam!
>Yamaha does not wish to be in the business of paying for other people's
>mistakes.
>
>I should let Roger speak for himself on this one, but until he does I will
>chime in with my interpretation/extrapolation of what I heard, plus my own
>experience.
>
>1) The steaming pot is probably not appropriate for this piano--a fairly
>new high-quality grand in a teacher's studio, which presumably had good
>tone at one time.  The pot gets steam into the crown, shoulders, sides, and
>all, and is only grossly controllable.  It might be more appropriate for
>cheap Asian hammers that come screaming from the factory, or very worn
>hammers in a practice room that are killing ears.
>
>2) The damp cloth and hammer-ironing on the shoulders can be quite
>appropriate.  The cloth should be linen or 100% cotton, and not too damp.
>The iron should be a 40-(not 80-)watt variety.  Even with a control unit
>in-line, the 80-watters can get hot enough to scorch hammers.  Check
>results before going wholesale.
>
>3) Dave Forman's description of needling is very sound, especially for
>regaining a once-nice tone.  The iron-and-cloth steaming in the same areas
>can also give good results, but I would not use a teacher's studio piano
>for my first patient.
>
>4) I think the pliers are for drastic situations.  Very deep very
>low-shoulder needling (start low and come up as needed) can increase both
>power and bloom if the tone is choked. 
>
>Check pinning, seat strings and pins on the bridge, correct capo noise, and
>level strings before evaluating what voicing is needed. 
>
>All, of course, IMO. 
>
>
>
>----------------------------------
>Lawrence Becker, RPT
>Piano Technician
>College-Conservatory of Music
>University of Cincinnati
>----------------------------------
> 
Roger Jolly
Saskatoon, Canada.
306-665-0213
Fax 652-0505


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