When You Risk Becoming Heavy...

TheSimon wrote:

A couple of weeks ago, Pianoexpert and I were having lunch at my house. Returning to the subject: my piano keyboard, which I thought was unplayable, so Paolo disassembles everything and takes the action away. I should mention that it hadn't been long since he had already changed the jack pins and performed a complete regulation of the action. Anyway, he carries out the necessary measurements and verifies that indeed the hammer center pins needed changing, along with various other small adjustments to be made to the escapement levers.

Long story short, today he brings the keyboard back to me. Once everything was reassembled, the keyboard had changed from night to day. We go to the tuning, and then what do we do? Won't you regulate the hammer voicing for me? Some hammers were tuned too harsh... Paolo, can't we just lower everything a little bit? Soften the felts of all the hammers a little bit?

I wonder... Am I the only one who is so picky in the search for the sound I have in my head and in the search for the exact functionality of the transmission action? Or is everyone a bit like this? Now Paolo and I are friends, so I don't hold back when I have to pester him, which happens often, but do you all do the same with your trusted tuner? I think it is right to be picky about one's own instrument... Otherwise, you risk not being satisfied when playing, and that is bad.

Personally, I feel psychologically more motivated to play well on instruments that reflect my idealistic standards of sound and mechanics. And in effect, I do play better...

I agree with you one hundred percent.

Thank you, Simone, for your compliments. I believe that is exactly how it is. We spend money on our "car servicing" and manufacturers impose a sort of scheduled maintenance on us. This way, however, we always have an efficient and guaranteed car. I wrote a small manual called PIANO GUIDA (Piano Guide) which is intended to be a sort of little booklet for "scheduled piano maintenance." It works. With some periodic checks and minor interventions (except those necessary for restoring efficiency, such as replacing the hammer action, strings, skins, felts, etc.), one can keep the piano in full efficiency without risking having to face, one fine day, a large sum of money all at once for a total restoration. Interventions must be carried out with judgment and always agreed upon with the piano owner. He, whether a professional or amateur pianist, must fully understand what the Technician is going to perform, decide amicably with him what needs to be done, and share the risk. Nothing must be performed "in the dark." Clarity and understanding must be at the base of every intervention, which, moreover, must respect the specifications dictated by the manufacturer.

Dear Pianoexpert,

it is my duty as a technician to always enrich myself and never feel satisfied in order to improve.

Can your little manual, the PIANO GUIDA, be found somewhere? Is it for sale?

Thank you

First of all, I like the piano to be tuned; it is fundamental that it has a voice that I like, but I don't have a developed taste to allow me to say to a tuner... I want it like this!

Probably those who are concert pianists have other needs... certainly superior ones and driven by the search for an even more personal and profound result.

I am not fully satisfied with the sound type of my pf, but when others play it and therefore I am a few meters away, the sound is much more pleasant. Does this happen to you too?

Sergio wrote:

I am not fully satisfied with the type of sound my pf [piano forte] makes, but when others play it and therefore I am a few meters away, the sound is much more pleasant. Does this happen to you too?

Damn!!! It happens to me too!! When my partner plays it, I have a different acoustic perception, perhaps also depending on the fact that the listening point changes!

It still happens that sometimes I like it, sometimes I would want it to be different timbrally, other times an area of the keyboard seems to sound great, etc.. it also depends on the fact that our brain gets used to that type of sound.

Ciao

Sometimes it sounds better, it will also depend on the variation of climatic conditions.

Perhaps with higher RH the soundboard is more "constrained" and resonates less!

....it happens to me too, but the answer I gave myself (perhaps a bit harsh) is: "...it will be the pianist"

Climate conditions affect the sound. The relative humidity percentage in the air has an effect. Also, the hammers can absorb [moisture] under conditions of particularly prolonged excessive humidity. Then it also depends on our listening predisposition... if we have had a particularly stressful day.... or noisy......... Anyway, a piano in optimal condition is less affected by these variations

For a pianist, it is necessary that their technician knows how to understand both him and the piano. I believe this is also confirmed by the loyalty that great pianists have toward their tuners.

This profession (if we want to call it that) requires great sensitivity, ability, and an immense love for music, and I publicly thank pianoexpert for giving me the smile and the joy of playing.

Thank you Umberto. The sensitivity of the pianist is also necessary. The two sensitivities must meet.

TheSimon wrote:

I wonder... Am I the only one who is so nitpicky in the search for the sound I have in my head and in the search for the exact functionality of the action mechanism? Or is everyone a bit like this? Now that Paolo and I are friends, I don't hold back when I have to pester him, which happens often, but do you all do the same with your trusted tuner? I think it is right to be nitpicky about one's own instrument... Otherwise, you risk not being satisfied when playing, and that is bad.

Personally, I feel psychologically more motivated to play well on instruments that reflect my idealistic standards of sound and mechanics. And in fact, I do play better...

... I wonder if my instrument can ever reach my idealistic standards of sound

Obviously it depends on what you start from... A 500 cannot have the comfort, road holding, and acceleration of a Ferrari. There are limits that must be accepted!

Indeed. It clearly depends on the type of instrument available, which, in any case, must be fine-tuned and carefully tuned.

Maestro Paolo Ferrarelli and Maestro Simone Renzi are an example of how the relationship between a piano technician and a pianist should be... in reality, unfortunately, this does not happen often, and this is a shame; in my opinion, it all depends on the artistic sensitivity of both... BLESSED ARE YOU!! never lose this "alchemy" of yours... and all that remains for me is to be very "envious".... naturally I am joking.. Compliments to both, YOU ARE EXCELLENT and I hope that in the future you can resume the little discussion about tutorials.

Greetings

saverio

Thanks Saverio, commitments permitting, we will try to arrange days when it is possible to carry out other video initiatives.

THANK YOU ENGINEER!!

I promise too! Thanks for the compliments!!!

The problem, guys, is that if someone only has one studio instrument... even if it's at its best, they will never have a sound comparable to a concert instrument... even if it's half "beaten up"