Odd dimensions of sharps.

[Michael Gamble]

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Yes, Marcel, you=92re right. I found myself wondering as I wrote that.
Whatever,  I have found the Brinsmead pulls up a semi-tone with no =
breakage
trouble !!  Thanks for pointing out my error! :-)

Michael G.(UK)

  _____ =20

From: Marcel Carey [mailto:mcpiano@videotron.ca]=20
Sent: 06 October 2005 12:29
To: 'Pianotech'
Subject: RE : Odd dimensions of sharps.

=20

Michael,

=20

If G#=3D440, I would think the piano would be 1/2 a step SHARP, not =
flat. Now
if A#=3D440, then it would be flat.

=20

Marcel Carey,

Sherbrooke, QC

-----Message d'origine-----
De : pianotech-bounces@ptg.org [mailto:pianotech-bounces@ptg.org] De la =
part
de Michael Gamble
Envoy=E9 : 6 octobre 2005 08:19
=C0 : Byeway222@aol.com; pianotech@ptg.org
Objet : RE: Odd dimensions of sharps.

Yes, Richard, I agree with the sharp business. There are many pianos I
simply cannot get my fingers in between them! Height also plays a major =
role
in this. As for those older pianos, the Brinsmeads in particular I find
extremely good tonally. Even very old uprights with the una-corda (L) =
pedal.
The strings are remarkable too =96 notice the coppery finish on the =
lower
steel strings =96 not the covered ones =96 I have found they respond =
very well
indeed to pitch raising =96 even from G#=3D440 !

Regards

Michael G.(UK)

=20


  _____ =20


From: Byeway222@aol.com [mailto:Byeway222@aol.com]=20
Sent: 06 October 2005 00:00
To: pianotech@ptg.org
Subject: Re: Odd dimensions of sharps.

=20

Hi Michael and List,

=20

I had forgotten about those round fronted sharps on Collards  (I think
Brinsmead did them as well).  It's amazing that they went to all the =
trouble
of cutting the ivory to accommodate them, in fact, tonally most of those
pianos were not worth all the trouble and decent materials which often =
went
into them.  They all sounded as though they had been strung with loose
knicker elastic.

=20

However, the subject of sharps and their size and shape has always
interested me as a pianist as well as a technician.  I have always been
conscious of sharps being comfortable or uncomfortable and I think that
pianists often do not realise that one of the many reasons they don't =
like
the 'feel' of a piano is, in fact the sharps.  I have a very good and
immediate comparison in a college here, where I have a Steinway B and a
Yamaha S6 in the same room.  All the upper end of the market Yamahas =
have
rather 'chunky' sharps with quite an exaggerated front bevel. I believe =
that
they are made from some sort of composite material which resembles wood. =
The
Steinway still has much neater and thinner sharps which I have now =
found,
from questioning pianists, they prefer.  Oddly, the smaller and cheaper
Yamahas have plastic sharps with much neater ( and in my opinion) more
comfortable dimensions.  Over the years, my recollections of  different
keyboards often takes me back to a really super Knabe grand.  There are =
very
few in UK, but this was a stunning piano musically, but it had the most
incredibly 'short' sharps I have ever come accross. You felt as though =
you
were going to collide with the nameboard at any minute.

=20

It would be interesting to hear other opinions on this whole business of
keyboards and their 'feel' as a result of materials and their size and
shaping.  Just as the recently discussed Wurzen front punchings appear =
to be
part of a general building up of agreeable feel and tone, so, I feel =
this
business of keyboard materials, design and finish are also a very =
important
part of the picture.

=20

=20

=20

=20


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