Pat, List: A M&H "A" in the Bay Area, or in parts of southern California, could indeed get a high price on the retail market. And the use of Encores or Abels are M&H's has been influenced by the use of Renner Blues during the previous ownership - not the same tradition, or one I prefer, but certainly acceptable. With respect for Frank (who has done a ton more structural work than me), there is no doubt in my mind that the problematic Aeolian M&H's from the 60's and 70's can usually still be quite incredible pianos. (I recently regulated and voiced a model 50 vertical from the period which I would have love to have owned myself.) The ones in my care I usually find in very poor regulation, with plate and cabinet finishes of uneven quality. These can be brought up to very decent performance level. Each one of these pianos has a typical M&H tone - not excessively bright, but a tone that takes off and really sustains. Actions are the biggest problem, and the easiest to fix. But not all are bad from the start. To get the M&H tone on the high tension hammer requires at least following the procedures which Rick Baldassin has taught at many convention classes, and which Renner USA outlines in their publication on the subject. The voicing approach will require extensive shoulder needling for resilience. My preference is to start with a hammer in the old M&H tradition. I agree with Ed that the brighter hammer is often used to make up for a shot board. If the piano lived in the Bay Area all its life it should not have deteriorated very much. With the information you obtained in the evaluation (ring time, downbearing and crown measurements) you have probably already made that assessment. Your subjective positive assessment of the piano's tone is very important, too. It sounds like a pretty fine instrument already. You haven't said whether your client has stated a tonal preference. Are they satisfied, and want that brighter "Steinway" sound which you have said it has now? Bill Shull University of Redlands, La Sierra University In a message dated 2/3/00 8:19:30 AM Pacific Standard Time, klavier@annap.infi.net writes: << A M&H A of this vintage in excellent condition would fairly bring about $6000 to $8000 retail in my area. $17,000 in 1997? Someone had a good sales day! As far as making it sound like a good vintage M&H, it's possible, but after listening to more than a few of the 60's pianos that have had lots of good work on them, I would say the odds are against it. Frank Weston -----Original Message----- From: Patrick C. Poulson <ppoulson@jps.net> To: piano tech <pianotech@ptg.org> Date: Thursday, February 03, 2000 1:01 AM Subject: 1965 Vintage Mason and Hamlin A >Greetings all you Techie Types! I have a question regarding a piano I was >called out to evaluate today. It belongs to a woman who bought it in 1997 >from a piano warehouse in the S.F. area. It is a Mason and Hamlin A (5"8") >grand, which puts it in the Aeolian period. She paid $17,000 back then. >Here is what I found: > Satin ebony finish, very good shape but some small imperfections > Restrung @ 1985? - a good job but with 5/0 pins > New hammers and shanks (unknown make, but possibly Encores from Brooks), >new keybed felt, new key bushings in 1997. Regulated well - work done by >Piano Finders of Walnut Creek. > Not what I think of as having the usual Mason and Hamlin tone. It was >more like a bright > Steinway sound. > Centripetal resonator in place (what a term!), soundboard and bridges >very good. > This is definitely the best piano I have ever seen that was associated >with the Aeolian name, >but because of that association I was immediately skeptical of it being a >"real" Mason and Hamlin, and of its market value. Anyone have any >experience with this vintage of M&H pianos care to comment on its value, and >also whether voicing might bring out more richness in the tone? Thanks, >Patrick Poulson, RPT > >>
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