"Heavy" Mechanics

the C7 is a prestigious instrument and must sound its best.

Any piano, but especially an instrument of this "stature", changes totally when it is out of regulation and voicing. It must also be well tuned. If the piano is well prepared, at the end of the intervention, sometimes, one hears the phrase being uttered... "..But... it's another piano!!!"

Now the piano in question should be "visited" and it would be necessary to verify the friction coefficients of the repetition lever pins, the hammers, and the escapement wippens. Then one must proceed with a good regulation. Then a fine tuning and finally a voicing of the hammers. In this way, the original efficiency is restored. One must also check the wear of the hammers and the felt of the shanks, as well as the "grooving" of the repetition lever heels. Various graphiting etc...

Now, after this, the piano might still sound exuberant compared to the listening environment. I believe that such a piano wants space around it to expand its powerful attack and the sound as a whole. Other small corrections can be made to the voicing and the damper release.

The scope of these interventions is broad, in the sense that they greatly change the performance and especially the sensations felt by the pianist. They are interrelated. Some precise questions and seeing how the pianist plays must help the technician understand the refined final part of the intervention.

With a piano like this, everything should result in being "easy".......provided that the piece has been well studied!!!

I hope I have been helpful.

Good music and thank you for the compliments

GREAT PIANOEXPERT!!!!

I wonder and I ask you, why don't you set up your own school for piano technicians? You'll see how many followers you would find; the first one is me, I would rush to Rome to follow a masterclass of yours on piano technology, think about it..... in exchange, I'll let you drive the Eurostar!!!

Greetings to you and Simone.... and have a good summer!!!!

WIWA PIANOCONCERTO

saverio

Thank you for the very quick and rich response.

Yes, it is clear to me that, to determine if my piano can become more suitable to my characteristics, it is essential that a technician be able to "visit" it, and for me so far the problem has been precisely not knowing a technician with whom I could have a dialogue like the one I had with you, even just with this "back and forth"; to put it another way: it seems to me that you possess a competence and, above all, a sensitivity that are not quite common.

As far as my characteristics are concerned, I am an amateur with limited technique, but who can dedicate—and loves to do so—several hours to improving; the point is that with my C7 I cannot study much, because I feel myself quickly reaching the threshold of tendonitis.

I am well aware that a consultation with a highly experienced technician could result in verdicts such as:

"the instrument is very well regulated, and would be the joy of many pianists, but it is not suitable to your limited means"

or: "it is you who are not suitable for it because you don't know how to practice!",

or: "the environment in which it is located, even if it is 42sqm, due to its structure (reinforced concrete), shape, number of windows, and lack of furniture, greatly affects the sound in a way that cannot be rebalanced with mechanical adjustments"...

But, to make the best use of the expertise that an experienced technician like you can offer, I believe it will now be useful for me to get to know a few more pianos: I always play only on my piano because, for many practical reasons, it has been difficult for me to try others so far.

I can tell you, however, that two years ago, while randomly trying a grand piano, I had drastically different sensations from those I get from mine: that piano was much "easier," but also more intuitive, and above all, I managed to bring out so many of those nuances that when I play on my instrument I am unable to make emerge; in fact, I had even forgotten that I was trying to achieve certain effects. In short, from that experience, I have the impression that many of my phrasing intentions remain somewhat submerged or "implicit" when I play on mine. However, I certainly cannot draw great conclusions from an occasional one-hour trial on another instrument.

But now, thanks to you, I have regained the desire to explore new solutions.

I will go and try other instruments to have points of comparison and then I will try to contact you.

Thank you again

Emanuele

Thank you all for the compliments.

Emanuele, I feel compelled to ask about the age of the instrument and whether any restoration work or replacement of parts has been done.

Thank you Bye

Paolo

From the serial number, compared with the list on the Yamaha website, it seems that the instrument is from 1994; I purchased it 10 years later. The seller told me that the instrument had been played very little, so it was completely original. I do not have the expertise to confirm or deny these claims; in fact, from what my untrained eye could see, its appearance was not bad.

Emanuele