[CAUT] Piano Cuneiform

[reggaepass at aol.com]

And it is interesting he isn't fitting hammer/strings before voicing...?

I was not able to attend the recent conference in Seattle, but have been following this thread with interest.  I did get to go to a similar class in Grand Rapids taught by Andre Orebeek (sp?).  Andre also was needling despite the fact that the hammers had not yet been mated to the strings (not how I normally do it).  In his case, I'm not sure if this was due to inadequate preparation time prior to the class (brand new hammers that had just been installed) or if it is his normal procedure.  Either way, apparently both Ulrich and Andre are able to "listen through" the mating issue.  Reminded me of something I once heard about how Steinway doesn't/didn't teach their voicers how to tune.  It would be tougher for me to voice a piano that is not in tune, but, as the urban legend has it, Steinway's experience was if someone can tune and voice, they might be lured away by (higher paying) private work.


Alan Eder


-----Original Message-----
From: David Ilvedson <ilvey at sbcglobal.net>
To: caut at ptg.org
Sent: Fri, Mar 19, 2010 11:34 am
Subject: Re: [CAUT] Piano Cuneiform


Interesting, but if you look at his III for strings...why not just take that and 
break it up as needed?   You've got the imagined left and right side of the key 
directly below the upstop rail.   As long as you make it fit with in that box 
and not run into the next key it would be simpler...?

I      left string
II     left and middle
III    all strings
 II    middle and right
  I    right string

That's what I use anyway...

And it is interesting he isn't fitting hammer/strings before voicing...?

 
David Ilvedson, RPT
Pacifica, CA  94044

----- Original message ----------------------------------------
From: "McCoy, Alan" <amccoy at ewu.edu>
To: caut at ptg.org
Received: 3/18/2010 10:02:32 AM
Subject: Re: [CAUT] Piano Cuneiform


>Here are most of his markings. Really quick, very easy and intuitive. He has 
already 
>done whatever low shoulder voicing for volume and body (what he calls 
"texture") 
>that he is going to do. So he uses these marks to indicate string-by-string 
where the 
>stringy, pingy strings are for high shoulder needling (almost on the strike 
point) with 
>his 5-needle voicer. He moves fast as he works with the felt mute to isolate 
strings 
>for pings. As I watched and listened he skipped over some notes that at first 
>sounded to me like they needed work, but on further listening these were notes 
that 
>were hammer/string fitting problems rather than pingy, metallic problems. He 
didn't 
>make any marks for these fitting problems because he knew he'd take care of 
them 
>later.

>Alan


>-- Alan McCoy, RPT
>Eastern Washington University
>amccoy at ewu.edu
>509-359-4627 (message Pacific time)
>509-999-9512 (cell Pacific time)


>________________________________
>From: David Stocker <firtreepiano at hotmail.com>
>Reply-To: CAUTlist <caut at ptg.org>
>Date: Tue, 16 Mar 2010 09:46:15 -0700
>To: CAUTlist <caut at ptg.org>
>Subject: [CAUT] Piano Cuniform

>One of the first things Ulrich did after pulling the action and placing it atop 
another 
>piano (covered) was to take off the keystop rail, and sand the top of it. He 
said 
>something about liking everything to look clean. At that moment it seemed 
extreme, 
>but it turned out that was exactly where he made all of these marks. At the end 
of 
>every pass of voicing, he would run his first finger and thumb over the keystop 
rail 
>to erase all of the markings. Because he had made it smooth, it came clean 
easily.

>I think he made marks on the front of the rail to denote needling lower on the 
>hammer, towards the top for higher up on the shoulder.

>David Stocker, RPT
>Tumwater, WA


 
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