il mio nuovo C3X di otto mesi stenta a maturare, sono alla terza accordatura ma il timbro non è ancora uniforme su tutta l'estensione, avverto inoltre una specie di fastidiosa "scordatura" nonostante sia accordato.
Ho notato che suonando con il pedale tonale abbassato, senza sollevare gli smorzi, la tastiera è più leggera e reattiva, il timbro migliora e le dinamiche sono più controllabili. La scordatura che sento si attenua notevolmente..
Il pedale tonale funziona egregiamente nel suo normale utilizzo
I don't think there can be a connection between the two uses.....
I realize that, which is why I defined this behavior as "bizarre" and asked for your opinion..
in reality, if we carefully observe the mechanism of the tonal pedal
we see that, once the pedal is depressed with the dampers raised, the bar is positioned under the red tongue and the damper, being unable to descend, remains raised. So far so good..
If instead we actuate the pedal without raising the dampers (before putting hands on the keys, therefore), the tonal bar positions itself above the tongue; the damper does not remain raised but works as if the tonal pedal were not depressed, though it undergoes the resistance of the spring connected to the red tongue..
the question for the experts is therefore: can this additional resistance lighten the keyboard and, above all, increase the effect of the damper? if that were the case, could I think that the dampers are not working normally and produce that detuning effect that I feel when playing normally?
It seems like a convoluted thing but I cannot explain it better..
It is obviously not the correct way to use the sostenuto pedal, which is pressed after pressing a key.
When it was patented in old Steinways, the tabs were even fixed and the bar mounted on the action frame; it had to be adjusted very precisely to ensure that it worked and did not interfere, and it had to be set at the end of its travel so that it would hold the dampers slightly above the level they reach in normal excursion, playing with or without the forte pedal.
The fact that you find benefit in playing with the sostenuto pedal improperly pressed before playing any key means that you find benefit (probably) in having an obstacle on the normal excursion of the damper and therefore of the key, which struggles more to reach the bottom. It is as if you were playing with a minor background, without having the aftertouch or otherwise making the aftertouch more difficult, and for some reason this benefits you by making you feel a different keyboard, but it should be more difficult.
The fact that you find it more pleasant to play in this condition of chaos says a lot about the quality of the regulation in your piano, which in my opinion should be reviewed as a whole.
It's peaceful, it is not the correct way to use the sostenuto pedal and I realized it myself purely by chance.
I was hoping to have some clues but there is an evident need for a direct inspection by a mechanics expert.
Probably being an imported piano it has never been regulated by anyone and in fact, as soon as it arrived, the Sostenuto was completely disconnected just as the "una corda" pedal produced no effect
It's peaceful, it is not the correct way to use the tonal [action/mechanism] and I noticed it myself purely by chance.
I was hoping to have some clues but the need for a direct inspection by a mechanics expert is evident.
Probably being an imported piano it has never been regulated by anyone and indeed, as soon as it arrived, the Tonal was completely disconnected just as the "una corda" pedal produced no effect
bye,
Exactly, it is probable that it is just as you say. Regardless of where the piano came from, it is possible that an aggressive pricing policy has resulted in saving man-hours: there are shops even here in Milan where you can purchase the same piano for 20 thousand euros or more. and in those 20 thousand euros are included 3 days of work by a specialized technician for the preparation and stabilization of the instrument, plus seasoning. Or one can find it elsewhere for a few thousand euros less, but "as It is". From a certain point of view it is better, because it is not excluded that the piano might fall into unhappy hands.
I am sure the piano has nothing wrong, it will be necessary to verify how the mechanism is positioned, shimming the left bracket if necessary, then those few hammers that do not strike the strings well must be centered, the let-offs and spring tension must be rechecked. And finally, the pedals must also be regulated. Then one moves on to unifying the timbre, without distorting its nature, and the tuning must be stable and lasting.
I believe that with a full day of work one can attempt to significantly improve the situation, then at a later stage a check must be performed again, to fine-tune everything....
Even the tuning, it is not enough to pretend to tune a new piano every six months so that it stabilizes....the process requires a slightly more constant and decisive job!
Guys!! I find the mechanics very interesting. Keep in mind that I don't have many things clear. However, I will soon try to build a clavichord and therefore... I am very interested in mechanics. If you have tips on Italian texts for studying... titles will be very welcome. Thanks a lot.
I also believe, as Giovanni makes quite clear, that it all depends on good preparation of the instrument. The technician must work on it calmly and with ...competence. In the early stages, the instrument must be monitored more closely. Then, over time, it tends to stabilize and even tuning correction interventions can be performed less often. Right regulation, right tuning, right voicing!
