On Apr 16, 2009, at 10:40 AM, Don Mannino wrote: > Where the flexible board / low tension scale relationship to this > breaks > down, for me, is to consider the old Mason & Hamlin pianos. Correct > me > if I'm wrong ye bellymen, but my understanding is that those pianos > had > rather thick and stiff soundboards, and what we all love about them is > their singing quality and expressive nature. It was a different > approach than Steinway, and may have kept them out of the concert hall > to a large degree, but they were beautiful, expressive pianos. Yes, "singing quality and expressive nature." Where do those things lie, and for whom? And for what music? (I share the love of the old M&H). Which is why I try to make a point of saying that I am not meaning to advocate for one design. I think there are many ways of assembling the various factors to come up with very good results. One will have more sustain, and "singing" quality. Another will have more clarity. Another will have more "range of color." Another will have more "power." Or "sweetness." Or "character." Same thing with violins, in terms of quality of tone. And the variety is wonderful, not a detriment. Violinists spend a great deal of time agonizing over what instrument to buy, and the answer is rarely cut and dried. "Better for this but not so good for that." I think the same can be true of pianos, and it can be to a greater extent than it is in current production, which tends to converge in many ways around a fairly narrow band of parameters. There are a lot of philosophies that can be pursued, and the more the better. A lot of discussion tends along the lines of deciding on "the very best" hammer felt or soundboard design or scaling or touchweight ratios. These are good discussions to have, but rather than come to a decision about what are the very best elements for some ideal instrument, I argue for divergence of opinion leading to variety. Regards, Fred Sturm University of New Mexico fssturm at unm.edu
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