Concert grands

Charles K. Ball ckball@mail.utexas.edu
Mon, 18 Nov 2002 11:57:47 -0600


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Dear Dave,

My colleague, Mary Smith, installed a set of Renner Blues on a Yamaha 
C3 her at UT recently and we were all very satisfied with the 
results.  The touch weight and hammer tail length worked out just 
fine, and the felt was less dense than the typical Yamaha hammer, 
and, thus, easier to voice.  Can't guarantee the same results on the 
CFIII, but if it were me, I'd be willing to give it a try.

Charles


>Until a couple of years ago we had 2 Steinway "D"s in our larger 
>recital hall.  One (1983) was wonderful, the other (1993) was 
>somewhat less than wonderful.  When it came time to trade one of 
>them (i.e. a donor was found) we didn't find any Steinway that was 
>universally liked.  We did find a Yamaha CFIIIS that was purchased.
>
>Since the one we kept (1983) was my favorite piano in the world, I 
>fully expected to dislike the Yamaha.  I can't!
>My favorite now is which ever one I'm playing!
>
>The Steinway "faithful" can't imagine why we bought this 
>un-Steinway.  They claim the Yamaha has a nice sound, but the 
>Steinway has "The Steinway Sound" whatever that is.
>
>This morning I had a few extra minutes and both pianos were side by 
>side.  I played one, then the other.  I played 8 measures on one, 
>then the same 8 measures on the other.  A big chord on one, the the 
>same big chord on the other.  At this point I started to think that 
>the basic difference was the hammers.  The Steinway has Renner 
>Blues, the Yamaha has factory original Yamahas.
>
>So my question:  Has anyone ever heard, worked on, or played a 
>CFIIIS with Renner hammers?  The hammers that are on there are too 
>new to replace at this point, but someday they'll need to go and I'd 
>love to have someone else's experience on this.
>
>Thanks,
>
>dave
>
>_____________________________
>David M. Porritt
>dporritt@mail.smu.edu
>Meadows School of the Arts
>Southern Methodist University
>Dallas, TX 75275
>_____________________________


-- 
Charles Ball, RPT
School of Music
University of Texas at Austin
ckball@mail.utexas.edu
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