What would Steinway do

[PAULREVENKOJONES]

Allen:

It would be a service to us all if you would share your "running list" with us, and as well, any of the technical specification differentiation that you might find between NY and Hamburg. Thanks.

Paul

"If you want to know the truth, stop having opinions" (Chinese fortune cookie)


In a message dated 03/04/07 05:24:18 Central Standard Time, akwright at btopenworld.com writes:
David, 


I had explored some of the archives since I wrote my last message, and found some of the earlier discussions of the Hamburg versus NY issues, including this one about action ratio you mention. That's quite interesting, and something I'll watch for.


By the way, I've only been in Europe three months now, having moved to London from Cincinnati. So rather than a 'European guy', I'm really an American transplant who is only now encountering Hamburg pianos in a big way. Thus, my interest in your statement. 


I'm discovering all kinds of small (and also not so small) differences between the two instruments, many of which I had never heard about before. For example, one small but significant difference (certainly in terms of regulation technique) is that the damper wires are much softer than the ones on NY pianos - so much so that it's possible to bend the wires without using bending pliers (which some techs here do). Another larger difference is in the lyre and pedals, which are completely different, without the locking plate and continuous pin. The list goes on and on...(I've actually started a running list of the differences, out of curiosity).


Thanks David.


Allen Wright, RPT








On 4 Mar 2007, at 05:40, David Andersen wrote:




On Mar 3, 2007, at 10:29 AM, Allen Wright wrote:
Are you're referring to approaches to restoration, quality of the workmanship, and things like that? I'd be very interested to know what you perceive the differences between the two to be. 


Thanks,


OK. I'll stick to just one, steady, measurable difference.  I do a quick action ratio check on pretty much every grand piano I come to; American Steinways have action ratios that are all over the map, with very few below 6.0, and many above that, which is defective in my view. German Steinways almost always have an action ratio of 5.5, 5.6, or 5.7---what I consider to be ideal, and should be repeatable in a well-controlled, craft-oriented and led factory setting. To me, this is an indication, a clue, and could be revealing of many other such disparities...each piano technician has to make their own judgement.  The problem is, most American techs have little or no experience with German Steinways, and the reverse applies to European and Asian techs.


The negativity you European guys pick up from us in the States is experience-based and documented; it's not some sour-grapes, personality-deficit-driven or ego-driven thing. 


David Andersen














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