A few years ago I was installing some custom millwork in a home and spotted a Chickering grand. The owner said it was from the 1940s. Size was in the six foot range. She asked if I would like to try it. I did and it was magnificent! It seemed I could do no wrong on that piano. It had received major amounts of recent work and sounded just lovely. I've played on a couple of other medium sized grands, a Yamaha and a Kawai. They were just fine, very clear but lacking in warmth. I actually prefer my 1977 Sohmer upright to those grands. It has the warm sound of the Chickering, just not as much of it. The Chickering was also very easy to play fast, for some reason. I suspect the technician that reworked the piano had something to do with that.
@@insidepianos Wonderful question (goal).... for Ariel and the 1924 Chickering, yes, no question. But more generally speaking, to achieve the goal of the best musical result, for a given recording, we have to add a third dimension, the music itself. The third dimension is wonderful, because it removes all absolutes.... Music is OK as it is. There is nothing wrong with angry music, or happy, or sad, etc... borroque, jazz, ancient, eastern, drums, vocal, caveman, dinosaur, martian, etc... But, yes, for the given music, Ariels music, and the 1924 Chickering, the goal, was truely achieved, perfect, beautiful. And thanks for the mic tips!!!!!!!!!!
I have to ask a question about the 1924 Chickering... ...the hammer tips/textures are amazing... is that because you have new hammers? Or have you gone over the 1924 hammers with a pin to even out the textures of the felt tips (a.k.a. voicing)? Any other tips to get tips like your tips?
Haha! I see you're needling me for advice on the needling you'll need. First, thanks! I'm so glad you like the texture/sound of the hammers. They are indeed new hammers I installed 2-3 yrs ago--Ronsen Weickert felt. But even top-quality hammers such as these require sustained attention to get the best result. These hammers started with a conservative application of lacquer and acetone plus some needling on the shoulders to open up the sound--give them spring. As they've been played in, it has been a long process of hardening as needed and needling as needled. A variety of techniques. They've also been reshaped fairly recently. I don't know if you have Mario Igrec's book "Pianos Inside Out". I highly recommend it, period, but I mention it specifically now for his treatment of voicing. A pricey tome but very worth it if you're wanting to take a stab (no pun intended) at this stuff.
When I studied at the conservatory in the '80s, I complained about the sound of the piano, a new Steinway model A. My then teacher played a little, with her amazing touch, and said she found nothing wrong with it. It did sound beautiful. However fellow students agreed that the piano was really ugly.
I remember a teacher at U of I who told us that our practice piano shouldn't be too easy to get a good sound out of. We should have to strive and struggle and learn how to produce one. I see where he was going but I like my pianos to be BEAUTIFUL. :)
@@insidepianos sounds more like making excuses for why the university couldnt/wouldnt maintain their instruments! whats the point of forcing students to play on an instrument that fights back? thats how you develop bad habits in your playing
Please continue with these really good videos👍🏼
You bet, Staffan!
very nice sounding piano and pianist!
Glad you liked!!
A few years ago I was installing some custom millwork in a home and spotted a Chickering grand. The owner said it was from the 1940s. Size was in the six foot range.
She asked if I would like to try it. I did and it was magnificent! It seemed I could do no wrong on that piano. It had received major amounts of recent work and sounded just lovely. I've played on a couple of other medium sized grands, a Yamaha and a Kawai. They were just fine, very clear but lacking in warmth. I actually prefer my 1977 Sohmer upright to those grands. It has the warm sound of the Chickering, just not as much of it.
The Chickering was also very easy to play fast, for some reason. I suspect the technician that reworked the piano had something to do with that.
I really appreciate when Chickerings receive the love they deserve. They certainly can be mighty special pianos when we do.
Awesome video! Thank You Both! All the Best!
Thanks so much! Glad you enjoyed it!
Great sounding piano/player. Very complete warm/bright/rich/light/full timbres...
Thanks, Thomas! That’s the goal in piano recording, right? 5 mics-2 in Blumlein, 1 below the soundboard, and 2 room mics in M/S.
@@insidepianos Wonderful question (goal).... for Ariel and the 1924 Chickering, yes, no question. But more generally speaking, to achieve the goal of the best musical result, for a given recording, we have to add a third dimension, the music itself. The third dimension is wonderful, because it removes all absolutes.... Music is OK as it is. There is nothing wrong with angry music, or happy, or sad, etc... borroque, jazz, ancient, eastern, drums, vocal, caveman, dinosaur, martian, etc... But, yes, for the given music, Ariels music, and the 1924 Chickering, the goal, was truely achieved, perfect, beautiful. And thanks for the mic tips!!!!!!!!!!
keep the videos comimg! FWIW, my like revolves around eat, sleep and pianos. i like to think my cats love pianos as much as i do!
Thanks for saying hello. Piano nerds, unite!!!
I have to ask a question about the 1924 Chickering... ...the hammer tips/textures are amazing... is that because you have new hammers? Or have you gone over the 1924 hammers with a pin to even out the textures of the felt tips (a.k.a. voicing)? Any other tips to get tips like your tips?
Haha! I see you're needling me for advice on the needling you'll need. First, thanks! I'm so glad you like the texture/sound of the hammers. They are indeed new hammers I installed 2-3 yrs ago--Ronsen Weickert felt. But even top-quality hammers such as these require sustained attention to get the best result. These hammers started with a conservative application of lacquer and acetone plus some needling on the shoulders to open up the sound--give them spring. As they've been played in, it has been a long process of hardening as needed and needling as needled. A variety of techniques. They've also been reshaped fairly recently.
I don't know if you have Mario Igrec's book "Pianos Inside Out". I highly recommend it, period, but I mention it specifically now for his treatment of voicing. A pricey tome but very worth it if you're wanting to take a stab (no pun intended) at this stuff.
When I studied at the conservatory in the '80s, I complained about the sound of the piano, a new Steinway model A. My then teacher played a little, with her amazing touch, and said she found nothing wrong with it. It did sound beautiful. However fellow students agreed that the piano was really ugly.
I remember a teacher at U of I who told us that our practice piano shouldn't be too easy to get a good sound out of. We should have to strive and struggle and learn how to produce one. I see where he was going but I like my pianos to be BEAUTIFUL. :)
@@insidepianos sounds more like making excuses for why the university couldnt/wouldnt maintain their instruments! whats the point of forcing students to play on an instrument that fights back? thats how you develop bad habits in your playing
First comment- another good video
Haha. Congratulations, John. :-) Always appreciate your fandom.