to master or not to master

[Susan Kline]

Dear Cyrillus,

Our posts, I think, are a perfect illustration of the differing points of
view which I talked about. (European and American) We have both worked from
different assumptions. 

I mentioned innovation, and it seemed to you that I was changing the
subject, because for you innovation seems to be something confined to
manufacturers. I, on the other hand, was totally ignoring the
manufacturers. I was talking about piano technicians in their every day
work, devising new ways to do things, experimenting. You might say even,
fiddling, and tinkering. It runs very deep in our national character, this
urge to figure out how things work and to find new ways to do things. So,
if we can use bandaids, teabags, scotch tape, baling wire, crazy glue, and
horses who can play the harp, we will. 

The piano is a relatively recent invention. Where do you think all the
methods that you were taught, all the "right" ways to rebuild and repair
came from? People, faced with problems which they didn't know how to solve,
figured out things to try. They tinkered, they fiddled. They met with
glorious success or absolute catastrophe, and everything in between. They
kept the good and threw out the bad, and kept tinkering. After their
techniques had passed through three or four heads, they became the
traditional methods you were taught to master, the right ways to do things.

We, today's (American) piano technicians, here and now, are faced with new
problems. We have new materials, such as new adhesives. We have that awful
multitude of extremely cheap and poorly built instruments, and another
multitude of better built but totally worn out old uprights. Many of their
owners don't have the money for anything better, and they have children who
are ready to learn to play the piano. These children may well move on to
better things, and buy better pianos when they grow up, if they can get a
start. The old wreck is their start, if we can get it working. If crazy
glue will give them an instrument to learn on, I'll use it and thank
heavens for it, and try to figure out as many tricks to play with it as I
can. 

Of course you put new pinblocks in old European uprights; they are worth
it. Our Whitney spinets are not worth it, and, unless one of them is of
_overwhelming_ sentimental value to someone, I would never condone spending
so much money on it. If that much money is available, it should be spent
getting a better piano. Much of the time, though, the money isn't there.
It's a matter of fixing the dying spinet or doing without a piano altogether.

Of course, you can turn your back on everyone who can't or won't buy a good
quality piano and pay you a lot to fix it by traditional methods when it
needs fixing. A lot of technicians do, and, essentially, work only for the
rich, or try to. I won't turn my back. If these people want to play, and to
teach their children to play, I'll find some way to help them, by whatever
means I can. I don't think this is unprofessional in the slightest. And
I'll keep tinkering. It is my heritage, my birthright. 

We can each do things in our own way. You can pass on your craft unchanged,
as you received it. A lot of people will like that. They will call you an
Old World Craftsman. There is nothing wrong with that. To each his or her
own ...

(Part Three: thank you, but .... I'm still looking for that body shop full
of _really bright_ people ... it MUST be out there somewhere!! and I bet
they could show me some really dandy new repairs ...)

Susan

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At 02:24 PM 5/21/98 EDT, you wrote:
>Dear Susan,
>The discussion is not about Europe versus USA nor where innovation takes
>place.  But I am pleased to serve you with my opinion to this as well.
>Innovations in the field of how to do faster indeed took place in the USA.
>Innovations of how to do better didn't in comparison.  Exemptions are
Falcone,
>Mason & Hamlin,Walter, Fandrich and some tool makers do an Excellent job.
But
>across both lakes on either side of the USA innovations take place in all of
>the categories.  I agree with you that more emphasis is given to the quality
>of the innovations.  Yamaha innovations win the race in most categories, but
>credit is due to Kawai and Young Chang as well (Asia).  On the other side of
>the USA innovations in all categories took place at Schimmel, Ibach, Seiler,
>Grotrian Steinweg,Petrof, Steingraeber, Kemble, August Forster, Rameau,
>Gaveau, Pleyel, Erard, Fazioli, Bosendorfer, Renner, Abel, Hermann Kluge,etc.
>Even the Rippen piano with compete plastic action and the aluminum grand
piano
>was one of the most innovative in history. But it proved ones again that not
>all innovations have an improving nature.(Europe) Steinway Hamburg carried
the
>Steinway fame trougout the world (Hamburg does the bulk of the export to the
>rest of the world) by not changing the original design. (no Teflon, no half
>rounds under the ballance) Only quality improvements to compete with the
>quality competition that takes place in the European piano market. (
Polyester
>finishes, large casters For the larger models) In the USA price
competition is
>the key word.
>Part two: Your hesitation to conventionally repair an Aeolian spinet speaks
>for it self.  I have never hesitated to go all the way in the repair of an
old
>European upright.  My statement about Band-Aids as hammer covering should not
>be taken out of context.
>Part tree: I guess you already visited the body shop.  Your articles are
>normally very Bright.
>
>Thanks for your input in the discussion.
>Cyrillus Aerts
>
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Susan Kline
P.O. Box 1651
Philomath, OR 97370
skline@proaxis.com

"I march to a different drummer, whose location, identity, and musical
training haven't yet been established."
			-- Ashleigh Brilliant