readiness

It is a very complicated subject; with just one word, it is difficult to understand what is meant. A "ready" piano could be any piano with the original action, or one that uses parts identical to the originals and is well-regulated.

The point is, regulated how? If by "ready" one means a keyboard that plays particularly smoothly on pianissimo with a feeling of "very little resistance," then it is probably a regulation with the escapements very close to the string.

Regarding "custom regulations," there is a beautiful video/explanation by Paolo; you should watch it carefully. It is thanks to this that I am telling you the above. I hope I have expressed it correctly, even if certainly in a very, very approximate way... I wouldn't know how to explain it. I hope you will forgive me for this.

Thanks for the publicity!!?. Jokes aside, a mechanism must always be "ready," meaning it must always respond to the stimuli of the pianistic gesture. The pianist sometimes uses words that are not always technical, but which convey the idea of the negative "sensation" they feel when approaching their instrument. "This keyboard feels doughy," "I have difficulty rebating," "I feel the escapement notch too much," "I can't achieve piano and forte," "The keyboard is hard," "it feels sluggish," etc.

There is no single "readiness component," but rather a series of evaluations and fine-tunings that restore the instrument to its original efficiency, despite all its design limitations.

My video on customized adjustments already presupposes that there are no problems and/or impediments to the optimal functioning of the mechanism. A good and precise regulation, whether standard or customized, can only be considered after analyzing the efficiency state of the mechanism and keyboard. In fact, any forced regulation that tends to correct movement impediments is incorrect and ends up complicating things. For example: The tension of the repetition springs must be adjusted with the right amount of tension so that the hammers rise decisively, but without bouncing, once they leave the hammer rest (grand piano). However, if the hammer repetition lever pins are stiff or have excessive friction, it will then be necessary to increase the spring tension, resulting in increased "hardness." Everything will be altered, and you will have the sensation of an insensitive piano; in fact, some "half-tones" and especially the piano and pianissimo might become unachievable.

Therefore, both when the piano leaves the shop (potentially after sitting in a warehouse) and after a few years of use, it should be checked and maintained for efficiency.

The instrument, which we have purchased and paid for, must offer its full efficiency, and any limit or impediment that persists over time forces the pianist to implement false technical solutions. In fact, they gradually get used to this malfunction and sometimes insist on trying to overcome it at all costs.

The purpose of this site—and I am given the opportunity to repeat it—is to help the pianist understand when and how much these impediments depend on them and/or when and how much from their instrument. This creates an awareness that helps in playing even on less efficient instruments.

I heard someone say: "Play on an instrument that is a bit harder or less efficient, so that when you find the piano in the hall, everything will seem easier to you."

In my opinion, it is quite the opposite: acquiring awareness means evaluating at any moment what the instruments can give and what we can give within the limits of the instrument. So "no muscles," but rather the acquisition of a correct mental model of functioning.

reading you (Paolo) I have the feeling that yours is a sort of vocation, which transcends any interest except for obtaining the highest possible number of finely tuned pianos and helping pianists get in tune with them. this makes you, in my eyes, a rare person worthy of the title "Artisan" as well as "Musician", an even rarer binomial. thank you for the generosity with which you treat any matter.

Thank you, Stefano, I am moved! Artisan is a great compliment for a musician. The artisan deals precisely with "the art of making," from which the word "technique" actually derives from the Greek "téchni". Which then... In Greek it literally means Art! I insist on the proper functioning of the instrument. Very often, as already mentioned—something I have also encountered in teaching—confusion arises between our approach and the impediments created by malfunction. I fondly remember a phrase said by my late and esteemed friend Stefan Vertes, then Import/Export Director of Casa Steinway: "the pianist must not defy the instrument, but rather entrust themselves to the instrument"

Thank you again and good health to all

Paolo