---------------------- multipart/alternative attachment On 26-mrt-04, at 18:36, Richard Brekne wrote: > Delwin D Fandrich wrote: > >> Most of the things you can do to a piano to give them POWER and make=20= >> the >> PROJECT will also detract some from their musicality. >> > > Kinda depends on what working definition of power we are dealing with.=20= > The kind of power and projection that Andre is talking about, and=20 > creates routinely has everything to do with musicality. My aim is to go to the limit of the instrument, without killing the=20 natural possibilities of the instrument. As some of us know, there are several ways to get to the limit of any=20 instrument. If we are talking about grand piano's we have : a superb instrument with.... a superb hammer a superb action a superb concert regulation the right position of the action parts (like the backchecks that=20 Richard referred to in a former e-mai,l and for instance the right=20 front punching) A superb tuning A voicing that can bring out all the available powers in the hammer head If all this has been done and the instrument still does not give the=20 desired strength or power, amplification indeed is the very last=20 answer. >> Personally, I've just about quit going to large concerts --=20 >> especially in >> "dead" halls -- and have walked out of others for just this reason.=20= >> The >> piano gets pushed beyond its musical limits and I've grown tired of >> listening to the hard, brittle sound that generally is the result of=20= >> trying >> to "get this baby to sing." >> >> > I agree. I am becomming more and more convinced that this has to do=20= > with a misunderstood concept of what voicing is all about. In fact,=20 > the more I get into this the more I feel it is very much an art form=20= > with 9 toes in the endangered species zone. It is possible however,=20= > to get very much power out of a piano, very much brilliance, without=20= > the harsh crashy sounds that many of us have come to regard with=20 > disdain. Exactly. With the right material and the above way of treating an=20 instrument, we can bring any piano to its musical limit. Voicing a piano is the most difficult of the entire piano industry. To=20= be able to voice an instrument, so that one gets the most out of it,=20 requires a vast experience in regulation and tuning first of all. Regulation experience gives us an insight in the mechanical limits, =20 and tuning thousand of piano's will teach our ears 'what's right and=20 what's wrong'. Voicing will bring out the best in both the instrument and the=20 technician. > >> Perhaps we also should adapt the credo, "first, do no harm...." >> Del "where music is, no harm can be" friendly greetings from Andr=E9 Oorebeek Amsterdam - The Netherlands 0031-20-6237357 0645-492389 0031-75-6226878 www.concertpianoservice.nl www.grandpiano.nl "where music is, no harm can be" ---------------------- multipart/alternative attachment A non-text attachment was scrubbed... Name: not available Type: text/enriched Size: 3014 bytes Desc: not available Url : https://www.moypiano.com/ptg/pianotech.php/attachments/59/4e/c9/56/attachment.bin ---------------------- multipart/alternative attachment--
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