It also seems strange to me that on an instrument like this I cannot obtain the same results and the same immediacy of execution as one has on an infinity of inferior pianos.
Thank you for the suggestions, but if the Bechstein technician tells me that what he has done is the maximum possible, I unfortunately cannot contradict or force him (especially after he spent almost 5 hours doing his best)... I had insisted that the key dip seemed poor to me, but he replied that 9.5mm is perfect and all Konzert8s are regulated this way, advising against changing it. I think he always acted on the hammer return spring to speed up my repetitions.
It seems truly strange to me: this person seems competent, serious, and helpful to me... besides being a tuner, he was also a piano builder... it is strange that he did not see the possibilities you are indicating to me.
I am left with a certain sadness at not being able to make the best use of such an instrument... are you passing by this area for a trip by any chance? It is a beautiful area, you know!
I do not doubt the technician's competence. Let's just say that the depth can help make the instrument more expressive. Even Steinway does not prohibit increasing its 9.5, if necessary. If I pass through the area, giving prior notice, I will gladly accept the invitation. We will have a coffee together and eat a good slice of strudel.
The odyssey continues... today a tuner sent by Bechstein came by to "fix" the few notes that, due to insisting on speeding up repetitions to avoid the mentioned "empty runs," had resulted in the nuisance of double escapement/double striking when the key is pressed very softly.
Well... it seemed easy, one just had to go back a little... instead, I now realize that while I can play the piano peacefully seeking all the nuances, two keys have worsened and on any "lightly depressed" key (perhaps just with the pinky) they systematically sound twice... extremely annoying...
Anyway, since the Konzert8, by pushing the sonic capabilities of an upright to the limit, is probably a tough nut to crack to regulate... but I am a bit discouraged... I have never had such problems on any piano of significantly lower quality: for the same price, I could even get a Yamaha C7, and everyone knows what kind of instrument that is...
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Fra
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Reply 25 by Fra
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266
It makes me smile to think that a technician doesn't know how to make a mechanism work, especially having good leverages at their disposal.
I find it hard to believe that it is the piano's fault, especially if it is new.
Bringing back an escapement is useless if everything else doesn't work in an orderly manner; changing a parameter in the regulation without considering all the others is the classic cure that is worse than the disease.
I feel like crying, above all because here (in this area) I don't know who else to trust.
The technician worked on it for about 4 hours, including the tuning... but I don't think he did any overall/substantial regulation, only acted on a couple of parameters...
Today it was a matter of 40 minutes because I only wanted to have 5 or 6 notes fixed that had an obvious problem.
Everyone keeps telling me that for my technical demands, one needs a grand piano and that's it... yet I, in my experience, have never complained about uprights to the point of having "problems playing them" or getting certain things out... Of course, to play Ondine properly, a grand helps, but I am not referring to that...
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Fra
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Reply 27 by Fra
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266
titowsky wrote:
I feel like crying, above all because here (in this area) I don't know who else to trust.
The technician worked on it for about 4 hours, including the tuning... but I don't think he did any overall/substantial regulation, he only acted on a couple of parameters...
Today it was a matter of 40 minutes because I only wanted to have 5 or 6 notes fixed that had an obvious problem.
Everyone keeps telling me that for my technical demands, one needs a grand piano and that's it... yet I, in my experience, have never complained about uprights to the point of having "problems playing them" or getting certain things out... Of course, to play Ondine properly, a grand helps, but I am not referring to that...
Before saying that your technical demands require a grand, I would try to make the action work; consider that even on a grand, performance is not always guaranteed.
Of course, your choices are debatable—a German upright, even if high-quality, cannot be better than a new 3/4 Japanese grand—but you have already bought it and you have to keep it if you don't want to lose money on it.
Titowsky, perhaps in June or thereabouts I will have to go to Veneto to see some pianos and help a friend. If you aren't very far away (I don't think so), I'll fix it up for you. Don't worry (actually, one shouldn't say that)... stay calm (now even that can't be said anymore!!!!).. so don't worry. We will make it work perfectly on both the fortissimo and the pianissimo. You will even play Ondine, which I adore. We will rediscover the Jeu perlé of the French technique that you currently cannot achieve because the hammers would "dance" near the strings. You must also have great difficulty differentiating between p. and f. Isn't that so? See you soon. Prepare a good coffee!!!! This is important!!!
P.S. You are making me suffer hearing that a Bechstein could be bartered for a Japanese grand!!!
P.P.S. Avoid, if possible, letting anyone touch it again.
P.P.P.S. Anyway, I am not certain yet.... but, if I don't end up going, we will do something to resolve it, stay calm (...and no!!!! it can't be said!!!!)
P.P.P.P.S. There is a famous photo of Rubinstein, in a shirt and suspenders, from behind playing an upright piano of some brand. ....Sometimes an excellent sparkling wine is better than a bad champagne!!!
Before saying that your technical demands are for a grand piano, I would try to make the action work; consider that even on a grand, performance is not always guaranteed.
Of course, your choices are debatable: a German upright, even if high-quality, cannot be better than a new Japanese 3/4 grand, but you have already bought it and you must keep it if you don't want to lose money on it.
Bro, I understand the doubts regarding my choice. The reality is that I already have a decent Yamaha C6 in Italy, which simply needs to be serviced. Here, I fell in love with the sound of Bechstein and, due to both space constraints and sound volume... I didn't think about going for a grand (which in my opinion must measure at least 1.90m). Furthermore, it wouldn't have made sense to get another Japanese piano similar to the one I have in Italy, whereas a German one (Bechstein, Bösendorfer, Steinway) is truly too expensive if new.
In the end, I admit that I let myself be carried away by the charm of the Bechstein German showrooms... and choosing the most "beautiful" Konzert 8 was truly exciting... except for the problems mentioned above...
Finally, I really want to keep it, I am still convinced... but I want to be sure that it is performing to the best of its capabilities. And at the moment, I don't have that feeling.
Titowsky, perhaps in June or thereabouts I will have to go to Veneto to see some pianos and help a friend. If you aren't very far away (I don't think so), I'll fix it up for you. Don't worry (actually, one shouldn't say that)... stay serene (now even that can't be said anymore!!!!).. so don't worry. We will make it work perfectly both on the fortissimo and the pianissimo. You will even play Ondine, which I adore. We will rediscover the Jeu perlé of French technique that you currently cannot achieve because the hammers would "dance" near the strings. You must also have great difficulty differentiating p. from f. Isn't that so? See you soon. Prepare a good coffee!!!! This is important!!!
P.S. You are making me suffer hearing that a Bechstein could be bartered for a Japanese grand!!!
P.P.S. Avoid, if possible, letting it be touched again.
P.P.P.S. Anyway, I am not certain yet.... but, if I don't end up going, we will do something to resolve it, stay serene (...and no!!!! it can't be said!!!!)
P.P.P.P.S. There is a famous photo of Rubinstein, in shirt and suspenders, from behind playing an upright piano of some brand. ....Sometimes an excellent sparkling wine is better than a bad champagne!!!
Paolo, thank you for the very pleasant intervention! I am very confident and will follow all your advice: first among these, not letting it be touched anymore.
From Veneto I am about... 5 hours away, barring traffic (I am in Konstanz, on the Swiss border).
The coffee is guaranteed, but also an exquisite lunch based on Dūnnele in a characteristic restaurant:
PS: well yes, this instrument has given me (and continues to give me, despite the inconveniences) many more emotions than so many grands I have played in my life (including most Japanese ones and excluding the "German" ones that are truly up to the task). Feeling this crystalline and powerful sound arriving in front of me involves me and I feel it—it might be suggestion, but I don't want to disillusion myself—something unique, artisanal, chosen by me because it is original and at the same time reflects the characteristic traits of this mythical brand... ok... I'm exaggerating...
PPS: ...but I have this cursed middle E that when I play the air of the 109, if I seek a sotto voce sound but simultaneously timbral and expressive, it plays twice for me... AAAARRRGGGGHHHHH!!!!
PPPS: ...in any case, thank you again, if nothing else for the intention!!!
I believe it is much more concrete than an intention (after having seen the restaurant!!!!!!!)
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Fra
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Reply 32 by Fra
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266
titowsky wrote:
Paolo, thank you for your very pleasant intervention! I am very confident and will follow all the advice: first among these, not to let anyone touch it anymore.
From Veneto, I'm about... 5 little hours away, barring traffic (I am in Konstanz, on the Swiss border).
Coffee is guaranteed, but also an exquisite lunch based on Dūnnele in a characteristic restaurant:
PS: well yes, this instrument has given me (and continues to give me, despite the inconveniences) many more emotions than countless grand pianos played in my lifetime (including most Japanese ones and excluding the "Germans" who are truly up to the task). Feeling this crystalline and powerful sound arriving in front of me engages me and I feel you—it might be suggestion, but I don't want to disillusion myself—something unique, artisanal, chosen by me because it is original and at the same time reflects the characteristic traits of this mythical brand... okay... I'm exaggerating...
PPS: ...but I have this cursed central E that when I play the aria from the 109, if I seek a soft sound but simultaneously timbral and expressive, it plays twice for me... AAAARRRGGGGHHHHH!!!!
PPPS: ...in any case, thank you again, if nothing else for the intention!!!
Of course, a good upright can be better than a bad grand piano. However, it remains an upright.
Your upright is good and must work well; in any case, the fact that it is an upright is not a justification for the defects you are finding, so just have it fixed and that's it.
