?? Voice ??

[Richard Brekne]

Barbara Richmond wrote:

>  
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>>That said.. I think for higher class pianos... and by that I mean
>>anything from say a Yamaha C3 and up over then one should pretty much
>>insure a decent set of hammers and stick to well established procedures
>>for handling the job. And that goes just as much for the lacquer
>>technique if you opt for that kind of hammer as it does my own
>>preference for tensioned hammers that need needling.
>>    
>>
>
>Of course..........IF they'll work.  :-)
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I think the point here is that if you do have a good set of hammers, 
then these well established proceedures will work. Once hammers are 
needled to death... or turned rock hard because of over enthusiastic 
lacquer... well they are just that... needled to death  or drowned. You 
just cant take such a set of hammers very far.

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>Ah, but sometimes hammers will surprise you.  These didn't seem to be over
>lacquered--and I was dumbfounded!  I know there is no sense in
>poking holes in over-lacquered hammers.
>
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Yes... but by definition (at least my working definition) a good hammer 
is predictable enough that you can manipulate predictably... and without 
resorting to strange and weird concoctions or tools.  Thats that 
<<ideal>> world it would seem so many seem to have difficulty relating 
to.  You actually can insure decent enough hammers.... you actually can 
admit that when a hammer has been too abused or just made to darn poorly 
then its no good and the best you can get out of it has something to do 
with loudness/brightness... but nothing more... and that at best.


>Actually, I don't think it's really so hard to learn to voice.  Yes, it
>would be better to have a wonderful tutor, but hey, I learned (and am still
>learning), so other people can, too.   I see two problems:
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I have to disagree entirely here, and I think the fact that we see 
soooooo veryyyyyy many totally unvoiced / misvoiced instruments 
testifiies in that direction.  Its easy in a sense if you have a very 
good musical ear... but only if you get past all that confusion and fog 
of ofte times conflicting advices... and then only if one, as you point 
out below, takes the time to develope  the skill. 

Much of what you say here below I find very agreeable.  Especially the 
bit about developing that <<concept of tone>>.  But evidently I believe 
that that is quite a bit more ellusive then you do.

>1. Folks get scared because of dire warnings.  Experienced voicers sometimes
>leave out information, thinking it's too dangerous in the hands of novices.
>How many times did I hear as a student that you never voice at the crown???
>Sheesh.  Have I learned how far you can go?  You bet.  :-)
>
>2. Learning to voice takes discipline, time and practice.  Just like tuning,
>one develops an ear for it.  I do remember making some flippant comment (who
>me?) about folks who used ETDs when I was at Little Red School House.
>Naturally, I was justly chastised.    *At the time* I was strictly tuning by
>ear and said (referring to those who used ETDs), "But they never voice!"  Of
>course, that wasn't true--maybe only in my neighborhood.  :-)   Actually,
>after *I* got an ETD, I had even more energy for voicing.
>
>As I see it, the trick is taking the time to develop the ear--not just to
>find the notes that stick out, but also to develop a concept of tone
>quality.  I've helped a few folks get started on voicing.  I've just passed
>on what I was told [You know, in those classes with forty guys standing
>around--but you see, I listened and was willing to try the stuff.  ;-) ]:
>After tuning, take the time to pick out some notes that stick out or twang
>or whatever.  Soon, the tech starts to notice/hear things--not just those
>notes that stick out, but eventually general tone quality of the instrument
>and what it is capable of producing.
>
>I have a friend who says my knack for voicing is due in part to my being a
>pianist.  (No, I'm not great, and yes, sometime when I get a mini-disc
>recorder, I'll make that recording I promised of my ol' Steinway.)  But I do
>have a musical ideal/requirement that I shoot for, the best I can, on every
>instrument I service--with permission, of course.  So, not only does one
>have to have all the tools (and know how to use them), but also, that goal
>to shoot for.
>
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>>Boy do I know that feeling.  Gets really bad when that University
>>Doctorate is breathing down your neck as you are starting to clean up
>>his pride and joy of a Bosie, S&S, or Yamanamaha... etc.  That person
>>/knows/ what they want to sense from the the instrument for each
>>different touch of the key.  Knowing how to get there fast and with
>>confidence is one heck of a big asset.
>>    
>>
>
>But, Ric, that's the fun part!  :-)  Oh, I take that back, the fun part is
>when you transform a piano and the owner pirouettes across the room!
>
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Well heck there Barb... of course thats the fun part.... when you can 
sit down and just get the sound he/she wants and they light up like a 
christmas tree.

>Have a good weekend!
>
>Barbara Richmond
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You too

Cheers
RicB