Tuning

What request should I make to the technician before a concert or regulation to have more indirect contact between string and hammer?

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Musick

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Opening post by Musick

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Getting an "ra" instead of a "ta" more easily, making that strike feel less prominent (which is annoying to me).
Having a more indirect contact means I have to apply more pressure to achieve crescendos, which however are softer, and the forte arrives later if I push harder.
And thus it's less immediate and dry, or if we want to find another definition, less "at your fingertips."

Some time ago I happened to have to explain this to a tuner, but he wasn't perceptive enough to intuit it. Since I can't always have my trusted technician available, I would like to know how to phrase the question "technically":

I don't know how to explain it better than this... I hope you understand. Many thanks in advance and have a good evening everyone.

(p.s. we are talking about a grand piano, obviously)

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Reply 3 by pianoexpert

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rocca di papa

Dear M.Pheles, this hardness certainly depends on the poorly voiced hammers. However, one must see their condition and whether they "possess" those dynamic qualities necessary to be able to prepare them well. Their shape is also important. Now, from what I understand, you want there to be a pianissimo, but with a good progression towards the forte. The fact that this "dynamic range" is missing makes me think precisely of the quality and condition of the hammers. You will evaluate with the Technician how to proceed. Be careful with the replacement: respect the weights, the original shapes… and the return of the old hammers!!!! ( IMPORTANT).

P.S. It seems to me that it is a grand piano, so, if necessary, replace the capstans as well. One must also check the friction values of the action. Anyway, what area are you in?

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Reply 4 by Musick

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Good evening maestro, my question stems from the comparison of two regulations performed months ago by two different technicians.

Thank you very much for your availability; unfortunately, being from Messina, it would be quite problematic due to the distance, even though I would be willing to get the action to you somehow.

I am speaking about the famous Schimmel that was discussed in the "Restoration" section.
Aside from "physical" problems, I noticed that the new technician had regulated it according to "tradition," in his words - "just as it would have been done in Hamburg" (removing the customization previously requested of the other technician), with the result that everything under the fingers felt more ready and more immediate, but it no longer satisfied me dynamically or sonically.

The question I asked myself is how the previous technician had managed to make it more manageable and less "direct." After the regulation he performed for me, there was less percussion; the sound arrived later, when I pushed, exactly as I had requested. I had complained specifically about a sound that was too percussive, and he set out to make the keyboard more indirect for me, though at the cost of sometimes failing my pianissimos, by reducing the strikes and improving the dynamics. But what exactly did he do? It would be interesting in case I have to make the same request to another, less sharp technician before a concert.

But perhaps with replacements, the traditional regulation will satisfy me; we shall see.

On another note, however, I think I have found one last chance regarding re-weighting, hammer replacements, etc. There seems to be a very competent technician in Catania; apparently, many people around here are very reluctant to take on this kind of work. When I spoke about Renner to the previous professional, and about tuning that he should have performed himself, despite repeated encouraging phone calls, he was never heard from again. I hope it doesn't go the same way with this one.

P.S. I would need a favor if I am not being too much of a bother; I wanted to speak with you over the phone, could I have your number?

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