"Noise"

[Horace Greeley]

Les, et al,

Please let me think on this for a bit.

That's not intended as a copout; but, rather an aknowledgement of my own
limitations.  I am not an engineer.  I am a reasonably well schooled and
well read musician, and  my approach to piano work is reductive as to that
frame of reference and not that of a professional engineer.  If we could
somehow get Peter Mohr on the list, we all could benefit from his
combination of training as an engineer/technician/factory foreman.  Also,
there are certainly others on the list who are significantly better
qualified than myself to address some of this stuff from that perspective.

With the above disclaimer stated, I will try to clarify my own thoughts and
ideas for later posting - and then promply retire to Tahiti, or somewhere
else where the fastest Internet access is via the local equivalent of the
proverbial "slow boat to China".

>Horace:
>
>But I need to understand more specifically some of the "why's" .  Like,
>if a soundboard is spruce and a bridge is maple, what makes the
>difference if it's on a Weber of a Steinway? Or why does one piano made
>by company Z sound horrible, and another, same model, made, perhaps two
>days later, sound marvelous.  Why does a string on the Steinway M,B, or D
>sound absolutely clear, and the string on the little console has "noise"?
> From whence comes that "noise".  Strings, at least the treble strings
>aren't all that different, are they?  It is not fair to talk much about
>"crown" because there are a lot of pianos with zero crown which sound
>perfectly wonderful.    I don't want to be an engineer, but I really need
>descriptives in order to understand for myself.  I've certainly learned
>each piano has its own personality.
>
>Thanks for your reply.  Do you have more words, words, words????????????
>
>leslie
>Leslie Bartlett M. Mus
>Houston Chapter PTG
>lesbart@juno.com




Horace Greeley			hgreeley@leland.stanford.edu

	"Always forgive your enemies,
		nothing annoys them so much.

			-	Oscar Wilde

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