Modern Tone II, the Return of the Question

[David Ilvedson]

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I've tried it also and I'm not that happy with it.  I'm going to=
 stick to needles.   For me, steaming gave me unlevel strike=
 surface which then had to deal with,   If I had done any=
 needling prior to steaming...god what a bumpy mess...I've still=
 got it in the bag of tricks but only for rock hammers.

David Ilvedson







Original message
From: Michael Gamble 
To: Jerry Cohen 
Received: Sun, 6 Mar 2005 17:07:52 -0000
Subject: Re: Modern Tone II, the Return of the Question


Hello Jerry, Alan and List
Let us not forget Roger Jolly's wonderful steam approach. He sent=
 me a copy of his treatise on the subject and I've tried it. It=
 works. Needle-less voicing... worth a thought? Non?
Michael G.(UK)
----- Original Message ----- 
From: Jerry Cohen 
To: 'Pianotech' 
Sent: Sunday, March 06, 2005 3:28 PM
Subject: RE: Modern Tone II, the Return of the Question


 
 
-----Original Message-----
From: pianotech-bounces@ptg.org=
 [mailto:pianotech-bounces@ptg.org] On Behalf Of Alan
Sent: Sunday, March 06, 2005 1:08 AM
To: 'Pianotech'
Subject: RE: Modern Tone II, the Return of the Question
 
 
P.S.  Part of my pursuit of this at this time is a desire to=
 rescue an area Methodist church from the shrill, busy,=
 ultra-bright, piercing, stident, trident (gummed up) sound of=
 the little Samick SG-172 grand they bought. I'm pretty sure it's=
 going to start with some serious string seating, bridge pin=
 stabilization, and regulation--followed by a session in the back=
 room with those hammers ... under a bright light ... with a=
 rubber hose and brass knuckles, to soften them up. I don't THINK=
 I could make it worse, even with what I know, now.  And, no,=
 there are no other guild techs within two hours of here and no=
 local yokels I'd want to invite to help. I am alllllll=
 aloooooooone here in the elephant ivory graveyard.
 
 
Alan,
 
I think the Samick is an excellent piano to start learning with.=
 I did some voicing on one a few weeks ago. It was also shrill=
 and painful to tune. The hammers are actually decent quality,=
 and with needling, you can create nice elasticity in the=
 shoulders, and create whatever you want as you approach the=
 top.
 
Since you are just starting, my advice is to make some=
 improvement in some section. If you try to do everything, you=
 will get frustrated and lose perspective. For example, even=
 though the whole piano sounds shrill, try to find one octave=
 that is a little worse (or a lot worse) than the rest. Work only=
 on that section, and try to make it blend perfectly with the=
 rest of the piano. By doing this you will be developing your=
 skills at not only tone building, but also creating an even=
 line. After you have finished that section, pat yourself on the=
 back, and leave the piano for maybe a week or two. Then you can=
 start working on other sections.  If you work on the whole piano=
 at once, you can easily lose your reference. 
 
We met briefly during Don Mannino=92s voicing class in Sacramento.=
 While he spent more time on pre-voicing, he really did=
 demonstrate most of the principles of voicing. I suggest=
 starting with the shoulders, trying to feel the elasticity being=
 created. Work on one note at a time. Make a few stabs, front and=
 rear, and listen to the result. The difference should be heard=
 in the mF and F levels. Listen very carefully. When you hear a=
 difference, move to the next note, even if you haven=92t finished=
 the first one. Remember, the needling tool works a lot better=
 than the unneedling tool! Eventually you can start working up to=
 the crown, but stay away from the strike point for now. Use this=
 area to create a nice mp and p sound. The final result should be=
 nice tone which has variety from pp to F. At FF it should start=
 to crash. Then you have created the full dynamic range of the=
 piano.
 
It was good to meet you last month, however briefly, and I hope=
 this helps.
 
Jerry Cohen
NJ Chapter
 
 


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