Beto-Music wrote:Your comment makes reflect about one question, just curiosity, for Modartt.
When Martha Argerich sellected the Steinway-B models for the collection, did she requested some changes, like revoincing, or just pointed what models she liked ?
Once a pianist in my country was asked to choose, in the Steinway factory, a model for a orchestra here, and he sellected one between nearly a hundred pianos or so. That's where I got curious, if they usually just sellect or if they request personalized adjustments too.
Mere curiosity...
fubarable wrote:Just bought this baby and put it through its paces. All I can say is it is quite sweet. It seems to be set up to be softer than the Bluthner Model 1, the D4 Concert Grand or the K2 Grand, but it is nevertheless oh so sweet, full and rich. Time to continue to modify it and see what I can tweek it to do.
That IS one of the problems with wood/mechanical pianos.
Within any one model they are all so different that your chances of buying one and later finding one that you like "better" are too high for such a large capital outlay.
I wouldn't consider a trip to NY in order to try 100 or so different pianos - to decide on my favorite.
I could probably rule out 3 or 4 straight away, maybe another half dozen soon after that - - but the remaining 90 would be bewildering at best and I would always have lingering doubts about my second and third preferences.
Anyway, as I understand it concert artists do that and pick out two or three that are closest to their ideal, then they request changes and there is discussion.
Adjustments are made, more trialing, more discussion, more adjustments, etc.
I couldn't go through it, but eventually the client either settles on one, defers to another day, or walks.
My GUESS is that the Model B was selected AND adjusted for her.
Just for fun I'll speculate that Modartt further tuned/tweaked the virtual model B for her - beyond what Steinway could do "in wood"
