Key travel in 2 segments

mike wrote:

No, the Renner brand is not present on the repetitions!

In fact, I also suspected (afterwards) that a complete replacement was not necessary, but rather a good adjustment; unfortunately, ignorance (mine) comes at a price!

In any case, I have kept all the original repetitions complete with roller and hammer.

You can tell they are not Renner from the wood, which is much lighter, and from the shape of the rollers...

The whole thing costs practically half as much.

Davehammerklavier wrote:

You can tell they aren't Renner from the wood, which is much lighter, and from the shape of the rollers...

The whole thing costs practically half.

In this case it would be a scam; it is a crime.

They will surely tell you that they are unmarked Renner because Renner only recently started branding...

The truth is that they have been branding them for a long time and those are NOT Renner. Period.

Davehammerklavier wrote:

They will surely tell you that they are unmarked Renners because Renner only recently started marking them...

The truth is that they have been marking them for a long time and those are NOT Renners. Period.

I am following your contributions to the discussion (Davehammerklavier and Fra) with interest and you seem very competent to me; could you please tell me how a poor devil like me can distinguish a good technician from an incompetent fraudster?

I turned to a tuner I have known for a long time (a member of Aiarp), who is not bad as a tuner, but as a technician I had never experienced him....

Could you point me toward someone you know?

I have already sent a request like this other times without receiving any response.

Thank you so much!

Mike, I know the situation thoroughly. Unfortunately, in Italy, as Goethe used to say, there is only dust on the roads and deception for the foreigner.

Personally, after so much deception, pseudo-scams, hallucinating results, torture, and situations of extreme rudeness (including aiarp), I don't want to see technicians anymore, nor do I need to call them.

I really wouldn't know who to point you toward, and I apologize if I unintentionally failed previously to provide an answer regarding this topic.

I know where the auctions they set up for you come from, I recognized them instantly... they have a whole bunch of them.

They are Japanese, not evil in the end, but stating one thing for another is not good at all.

In my opinion, Abel hammers are stunning!!! I have a Kawai upright refelted by Abel and it has acquired an absurd sound power (even after the refined regulation by #pianoexpert). I had the hammer action replaced on my Pleyel, switching from Renner to Abel. With the latter, it sounds better, but not because of the brand, but because the hammer action with the right weight and the right compression was chosen, in addition to having chosen the natural felt which is exceptional! Abel has a philosophical conception of sound much closer to how it was done in the 19th century: more "velvety," intimate sonorities, but very rich in sound, with a great dynamic gradient (the timbre changes by varying the dynamics). Pianos and hammer actions had to adapt to large halls, loading the soundboards (sometimes too much!), engaging the hammers, weighting everything down: the result is a big sound (sometimes aggressive) that must also reach the last row of a large theater, but it is less rich in timbre (playing softly or loudly, if well regulated, changes the volume, but not the timbre). There is no better sound, but we have become accustomed to this, even with the advent of digital instruments.

The way of playing has also changed! If I were to perform a Galuppi sonata (I am studying the fifth in C major) in a large hall, I would be forced to make the right hand sing very much, even quite a lot, to make the melodic line heard well. But it is a deception!!! In the galant style, the melody should not stand out so strikingly; the sonorities between melody and accompaniment should not be so distant (in Mozart, the story already changes), the Alberti bass has its own cantability (in turn divided into a deep low note and the other three that emerge over the duration of the long note in the right hand). Personally, I prefer performing in salons rather than in theaters. Glenn Gould himself, at one point, decided to abandon the concert hall and dedicate himself to recordings, unable to endure, among many compromises, the one related to performance practices which, for the aforementioned reasons, go to waste in large theaters.