Modern Tone

[Barbara Richmond]

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Hey Dave,

I think Joe's comment does have some merit.  I *do* understand the =
practice room problem of loudness, but I remember just "hammering away" =
at the voicing anyway, to help keep things under control (and so I could =
bear to tune the pianos).  I remember visiting a fellow university tech, =
taking a look at a particular piano in a practice room and asking if =
that was the tone quality he was shooting for. (I mean, there is some =
difference between that granite sound and just plain loud.)   His =
immediate response was, "It's only a practice room."  Well??? =20

Then we went up to a recital hall to have a look at one of the =
instruments there.  Holy Toledo, I just about fell over playing the =
first chord.  He admitted that his assistant was supposed to have voiced =
it, but obviously hadn't.  But he also said, that that was how everybody =
liked them (and added the comment that some of the petite girls needed =
help in producing volume--you might be able to imagine my reaction to =
that).  But, he was told when he first arrived on the job that "they =
like things bright here."  Well, who can argue with that?  I didn't ask =
him who said that, but I might the next time I see him.

So, it sort of brings up the "school sound"-- and who determines it.  In =
my case, I set it and got lucky because it was well received.  I do =
remember one professor telling me of a visiting pianist (from a big =
university) making comments about the pianos here.  "If only I could =
have pianos like this in my studio."  I *think* he was talking tone =
quality, because those were 1970s Teflon Steinways with original =
everything (they weren't terrific *playing* instruments because I was =
fairly limited in what I could do since my predecessor had repinned the =
parts with telephone poles and we had no parts budget).  Anyway, my =
reaction to his comment was, "Well, why doesn't he say something to his =
technician?"   I knew who the head tech at that school was at the time =
and I knew he was a competent technician.

So.....there are a lot of determining factors.  Folks get used to a =
certain sound, folks who are afraid to ask for something different, =
etc., etc., etc.......

I have a customer who recently replaced her worn out, little old no name =
grand with a 1940s B--all original.   Something was said about how she =
liked the sound and touch of the used one better than the new.  I knew =
why---it felt and sounded most like her old piano--desperate for =
regulation, complete with dampers bouncing on the backs of the keys.  =
:-)

Barbara Richmond



  ----- Original Message -----=20
  From: Porritt, David=20
  To: Pianotech=20
  Sent: Saturday, March 05, 2005 8:07 AM
  Subject: RE: Modern Tone


  Joe:

  =20

  Your "tin can" comment below is close, but no cigar.  We have 10 =
practice rooms reserved for piano majors with 10 Steinways (5 Ms, 4Ls =
and a B)  The rooms are tin cans.  If you can imagine a room with a B =
that can hold the B, a bench and a small to medium sized student.  How =
do you get a sound that isn't too loud?  I have encouraged students to =
invest in some kind of hearing protection.  Generally they do leave the =
short lid closed with the music desk sitting on top of the piano.  In =
spite of the fact that this makes the music awkwardly high, it's better =
than going deaf before lunch.  I have steamed the hammers (doesn't last) =
I've fabric softened the hammers (doesn't last and causes the hammers to =
loose their shape) needled the hammers (really nothing lasts).  These =
pianos are played very hard and in a room about 5% of the size room =
these pianos were made to fill.  In our case at least it's not the =
pianos, but the rooms. =20

  =20

  All our rooms do have walnut paneling and in the next year there is to =
be some acoustic modifications made to them.  The goal is to reduce =
volume in the rooms and cut down sound transfer between the rooms.  =
(Right now we have a lot of Mozart/Liszt collaborations that you don't =
want to hear!) =20

  =20

  When you think practice rooms, remember that these are often really =
nice pianos in extremely small rooms!

  =20

  dp

  =20

  David M. Porritt

  dporritt@smu.edu


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