Isaac,
Actually, I think it is rather uncharitable and patronizing of you
to make the comments you post here, as regards Terry's experience and
such and the consequent relevance and worthiness of his criticism. In
minimizing the pertinence of his comments, perhaps you do the same for
yourself. Terry is giving us the results of his own experience taken
from the view of an both an owner and a technician. In general, the
deficiencies he ascribes to the new verticals, in my opinion, will be
confirmed by any person who has but a few examples of these pianos
serviced and under his belt. The new Steinways, grands and
verticals, of the last 30 or 35 years have had a series of
characteristic, numerous, serious problems of various kinds. These are
extensive, and to my mind, essentially inexcusable.
The fundamental sound of the instruments, for the most part, once
these problems have been addressed as best they can, is, to my ear,
very,very good, leaving the instrument a worthy one, inspite of these
inadequacies. However, on a piano that purports to be the best in the
world, exhibiting unique, "hand-made quality", etc.etc., it seems
inexcusable to me that the numerous defects in parts and workmanship
that have existed in this period could be allowed to persist, yet they
do. The point could be made, however, given the marketing success of
the last ten or twelve years, that they would be foolish to change much,
something I don't agree with but which I can see the logic of as it
could be said as regards sales, "If it ain't broke, don't fix it".
I remember, many years ago, as a young technician, the intense,
profound sense of disappointment, and also astonishment, that
progressively came over me as I perceived the ridiculous failure of
quality control I began to encounter when working on new Steinways.
Working then with a Steinway dealer, which is among several I have
worked for, and experiencing the deceptive, perfunctory approach to
these problems, at even the most basic of levels on the part of the
factory which, to this day, continues to minimize their existence,
ignore their implications and, makes the attempt to overcome through PR
any negative effect on sales, long ago convinced me that the real
purpose of the service department was the same as the rest of the
factory and that is SELL, SELL, SELL. Yes, any business must do this,
but is should look to, and master its own inadequacies of product as an
internal matter and not confuse quality control, again an internal
matter, with marketing per se, which, of course, is a public one. The
market franchise, persona and mystique of a Steinway piano, created over
a hundred years ago by the marketing genius of William Steinway, whether
deserved or not, and I think it was at one time, continues its
effectiveness, something which in business, is, perhaps, unprecedented
in the period since the Industrial Revolution.
The pianos, in my opinion, have improved since the late sixties,
although there is a lot yet to be done. A voluminous book, I think,
could be written on this. These comments are made viz.a viz. the North
American model. The Hamburg version is a different animal and I think
generalizations can be made only in a limited fashion from one to the
other. I believe Terry is right as to the variable plate placement for
the reason he stated and for others but this is just the tip of the
iceberg as regards problems in these pianos.
Because of the fundamental strength of the designs, even if flawed
from a modern perspective, and the superior quality of material used in
the instruments, particularly the rim, and, above all the resulting
sound, they continue to persist, now for several generations and inspite
of these inadequacies, as first rate musical instruments, or, at least,
in being perceived as such.
Demographic changes undergone by the economy as a result of WWII
and the disruption of continuity at the factory at the same time
during which at, one point, I believe the company had to devote the
major part of its efforts at making gliders, following close on the
heels of the traumatic times of the thirties, is, and this is just one
man's opinion, the most important factor in the great decline of quality
control in the period since. There are many other relevant factors.
This being said, this disruption, in a particular point of criticism,
has lead to the use of the overly soft, lacquered, and now heavy
hammer used at present, its being patented, and its presentation to the
world as a worthy innovation, a view, I think, which is believed by
many, including technicians who, in my mind, should know better.
It is necessary only to give attention to the parts and quality
control of their pianos produced prior to WWII, to the function of the
hammers in particular, and, also, to the nature and quality of the
actions used in this period, although this is a complicated subject,
from about 1870 to 1985 or so, to conclude that there was, in fact, a
better way to build actions and, in particular hammers, and that this
company did do it better at this time, along with, practically, every
other part of the manufacture of their piano. I am sure some would
accuse me of being an antiquarian, which I am not, but I do believe,
that, at least in this case, "they don't build them like they used
to". All that is necessary to reach this conclusion, in my opinion, is
to be familar with the general characteristics of older Steinways and to
contrast those with the new production.
I think David Koelzer's term "Steinway posse" is most apt for
those who, for whatever reason and I by no means wish to impugn the
motives or rationality of this decision, have thrown their lot in with
the company, it's reputation and commercial success, as I have, during
certain periods, done myself. This decision is a matter of business.
Steinway's success, though, is capable of enforcing upon the technical
community decisions which may be contrary to decisions taken were purely
technical considerations paramount and does so on a regular basis, yet
we, as technicians, should not be confused or taken in by the hype and
marketing rationale which, essentially, in this day an age, is the basis
for this success.
I think Terry has hit it right on the nail in his commentary as to
what one should expect from a new piano and the contrast between
expectation and event he experienced when acquiring a 1098. He is
unusual, as we all are, in point of comparison as regards the buying
public, as he is technically informed and can take note of deficiencies
the marketing power of the company has been capable of overcoming on a
non-technical basis, and, you may, but I would not. gainsay him for
that.
Regards, Robin Hufford
Isaac OLEG SIMANOT wrote:
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