This is a multi-part message in MIME format. ---------------------- multipart/alternative attachment I pretend too that incorrect regulation, that rob control to the pianist, is turning the hammers hard too fast, as it is often that piano stop to break strings after regulation. Lack of power and control due to the regulation will make the pianist play more aggressively on the instrument, may be because they are frustrated, may be because they try to obtain more tone , but for sure even a worn piano/worn hammers, if perfectly regulated what is not so evident) , particularly with the good aftertouch and the most controllable sequence between letoff/drop catch, will keep some musical pretension and be useable way more than, the same with good hammers and not so good regulation. Voicing is also a much more self evident task when regulation gives the most efficient energy transfer. When beginning to understand voicing methods, we tend to focus on the hammer , when it is often necessary to touch up the regulation to have a correct picture. I noticed a tenancy to provide a touch with a very strong aftertouch sensation, and a lot of stroke. While this percussive regulation is pleasing much the jazz players, it oblige to needle more the hammers than necessary if we want to have a mellow tone. The same result is obtained and last longer with a keen and minimal aftertouch, and more roundness in the touch of the keys. Checking keys height and dip will help to ascertain what have been done, or the state of compression of the action. Adding a few mm on key height as too often done, will lighten the beginning of the stroke, but then the hammer is not accelerated progressively, and less control in tone is available. Best Regards Entretien et réparation de pianos. PianoTech 17 rue de Choisy 94400 VITRY sur SEINE FRANCE tel : 033 01 47 18 06 98 fax : 033 01 47 18 06 90 cell: 06 60 42 58 77 -----Message d'origine----- De : caut-bounces@ptg.org [mailto:caut-bounces@ptg.org]De la part de Isaac OLEG Envoyé : samedi 22 mars 2003 09:43 À : David Ilvedson; Caut Objet : RE: Yamaha CFIII Voicing Yes , but where lies the difficulty is to ascertain the state of the internal of the hammer before needling. One more strong jab in the heart of the hammer (the original spring created while the first needling was done ) will unleash the other parts too much and compromise the correct transmission of the resiliency. I noticed that is a matter of imagination, and recognize the absence of tone power, while the brightness of the attack is often taken for power that is too a matter of pinching the hammer to recognize where hardness lies . When string mating problems begin to be noticed more and more that is often the sign of lack of basic power in the hammer. That is why it is convenient to have some reserve, and try to work always on a tensioned material. Happily , if the tone is bad, most often we can find spots of hard felt, responsive for that, and when untie the knots, their hardness goes around (above reverently) , bringing back some energy. Best Regards Isaac OLEG Entretien et réparation de pianos. PianoTech 17 rue de Choisy 94400 VITRY sur SEINE FRANCE tel : 033 01 47 18 06 98 fax : 033 01 47 18 06 90 cell: 06 60 42 58 77 -----Message d'origine----- De : David Ilvedson [mailto:ilvey@sbcglobal.net] Envoyé : samedi 22 mars 2003 00:14 À : oleg-i@wanadoo.fr; College and University Technicians Objet : Re: Yamaha CFIII Voicing Another words deep needling in the low shoulders... David I. ----- Original Message ----- From: Isaac OLEG To: College and University Technicians Sent: Friday, March 21, 2003 3:07 PM Subject: RE: Yamaha CFIII Voicing Hello, In too brilliant rooms it is not easy to voice down, probably impossible in fact. If the lower part of the hammer is packed down ad rigid because of the use and the dryness of the air you should eventually treat them back to life as if they were new. in 1987 I am not sure that CFIII hammers where as good as the actual ones, that are clearly on the mellow side by my standards, but at this stage , the C7 is probably mellower. Nowadays high shoulder needling , if the top of the hammer is not lively, product not really long lasting results (if needled too softly too) . On the other hand, even if you bring back some energy there, on old hammers, your job will not hold as much as on recent ones. It is usual to bring back some tension from below before treating the high zones, sometime, you eventually realize that the top have been too much needled, and that you may shave a bit to keep some energy active there. If the voicing don't last it is because only the higher regions of the hammer are involved in the tone making, allowing the hammer to move more deep help to keep the top active longer, because it does not compress on the low shoulders as much as it is more suspended. Clear as ? Sorry its late. Best regards. Isaac OLEG Isaac OLEG Entretien et réparation de pianos. PianoTech 17 rue de Choisy 94400 VITRY sur SEINE FRANCE tel : 033 01 47 18 06 98 fax : 033 01 47 18 06 90 cell: 06 60 42 58 77 -----Message d'origine----- De : caut-bounces@ptg.org [mailto:caut-bounces@ptg.org]De la part de Tom Merrill Envoyé : vendredi 21 mars 2003 17:32 À : caut@ptg.org Objet : Yamaha CFIII Voicing List: I am the contract tech at Mesa State College in Grand Junction, CO. We have a new 280 seat recital hall that has a very bright lively acoustic and is easily overdriven by vocals and instrumentals. I'm having a "dickens" of a time keeping the Yamaha CFIII (circa 1987) with Yamaha hammers voiced down fairly mellow yet articulate to please the pianists. They want lots of color with projection, but not too loud. The piano gets used for solos and accompanying small ensembles and vocals. I took every voicing class and voicing tutoring in Chicago last summer and the Little Red School House last fall, but lack the 30 years experience demanded by the situation!! I can get the level of brightness where we like it for a short period of time by high shoulder needling and a little sugarcoating on the crown. But a week or two later, the felt packs down and it gets too bright again. I've read in the archives that this piano has a fairly heavy SB structure to compensate for the softer woods in the rim and needs a fairly robust (w)hammer to get things moving. It seems to me that we may have the wrong instrument and/or hammers for the application and that if we want a delicate, articulate colorful piano, we oughta buy a Steinway that sounds that way to begin with. Too bad the State of Colorado doesn't win its own lottery.... Is anyone else successful in what I am trying to do and could share some tips? I've thought about putting on a set of Isaac Cadenzas. Is this a good idea? The other piano in the room for duets is a Yamaha C7 (circa 2000). Thanks for your ideas. Tom Merrill Grand Junction, CO (where minimum wage is a high paying job) ---------------------- multipart/alternative attachment An HTML attachment was scrubbed... URL: https://www.moypiano.com/ptg/caut.php/attachments/6e/0e/0f/21/attachment.htm ---------------------- multipart/alternative attachment--
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