Yamahas C7 out of the box

[antares]

I have been working for Yamaha quite some time and I am familiar with 
what Richard was describing.
Basically it is like this :
The instrument is manufactured, of course in Hamamatsu.
It is then shipped to a distribution center 'somewhere' else.
During that voyage instruments usually react to changes in temperature 
and humidity and that's why they need a service check in a distribution 
center.
In that distribution center there are people who check these 
instruments before they go to the dealers.
For a check up there is an allowance for a limited time.
The final quality depends on the training and technical capacities of 
the hired technicians in the distribution center.
Most of the technicians working in those distribution centers have 
never had any training in Hamamatsu.

The level of training in the Academy is very high, and usually on a 
higher level than in the distribution centers.

EAR



On 12-jan-05, at 9:58, David Andersen wrote:

>> Hi folks.
>>
>> Having just been to the Yamaha Acadamies GP and Masters courses this
>> past few months in Hamamatsu, I'm rather familiar with what the 
>> Acadamy
>> folks expect from one of their grands. And a C7 is one of their better
>> offerings so I expect they'd be rather picky about most things.
>>
>> Saturday and yesterday I had the opportunity to open one of these up 
>> on
>> the floor of the local dealer, something I havent done much of since 
>> my
>> Sherman and Clay days in Seattle, and I was really shocked at the 
>> amount
>> of prep work needed to get this thing operative. We are talking about 
>> 15
>> hours solid prep work to come reasonable close to concert regulation,
>> tuning, and voiceing.  No way this was carefully voiced in the 
>> remotest
>> sense of the word. They just dont get that uneven and remain so 
>> harshly
>> bright from sitting in the box for a while. Regulation... from the
>> bottom up absolutely everything had to be re-done...
>
>
> Hey, Ric. I've never, and I mean never, had any experience remotely 
> close to
> what you describe, and I've prepared new C7s, and all other C series
> instruments, consistently, every month, for the past 5 years, until 
> right
> now.  Yamaha C series grands have been very, very close out of the box,
> relative to almost all other manufactured pianos, and many hand-made 
> pianos.
> I've never felt like I couldn't get one into creamy 
> performance/recording
> shape in a day, and that's mostly my 4 big tweaks---spring strength, 
> jack
> position, jack height, and glides---string leveling if necessary, a 
> killer
> tuning, and some light-to-moderate voicing passes in the high tenor/low
> treble---and then as much more precise and refined action regulation 
> as you
> have time for, i.e., finding/confirming the backcheck "sweet spot," 
> refining
> the spring strength, setting the letoff slightly closer, refining the
> aftertouch----ad infinitum.
>
> In a very few pianos I've had to address key binding of any kind; in 
> one C5
> I had to reset the damper timing;  but that's literally it as far as 
> any
> out-of-the-ordinary scenarios vis a vis the normally impeccable 
> standards of
> preparation.
>
> That's a weird story, Ric. I would never say it's not true, but it's 
> weird,
> compared to my experience....
>
> Nitey nite......
>
> David Andersen
>
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>
>
friendly greetings
from
André Oorebeek

Vita Dura Est