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That means a lot coming from the likes of you! Hope to see you stateside before long.

Thanks, Dr. Wally!

Thank YOU for all the responses as well! The hammers are Ronsen Weickert felt which were chosen by the rebuilders 13 years ago. They are often my go to as well, though. In fact, I’ll be hanging a set soon on my own 1962 Baldwin SD6.

Thank you so much!

In modern times Steinway in my opinion is becoming quite full of themselves. You can’t forget about Baldwin. During the early and mid 20th century many famous artist and composers chose to plays Baldwins. I’ve played some Baldwins I would take in a heartbeat over a Steinways. It’s sad that Baldwin had a bad time in the 90s and early 2000s which led to the end of Baldwin’s American production.

@@jacobneal5388 I have a 1988 Baldwin SF-10 that was rebuilt by Chris Chernobieff (look for Chernobieff Piano) on youtube, and he absolutely transformed the sound! Rebuilders like him and this fellow at Inside Pianos can take an instrument with good bones and offer world class sound at a fraction of the price. Craftsmen (and women) who love their work and love the instruments in their care are so worth seeking out. Bottom line, as Duke Ellington was credited with saying.... "If it sounds good, it is good!"

👋🏼 Hope you’re doing great, Staffan!

Thank you for watching!

That’s an interesting way to look at it-as the pinnacle of technology for the home. The hammers are Weickert felt (made by Ronsen), which is said to have been the supplier for Steinway before WW2. I don’t know if it would have been the felt for this early a piano, but I hope so…to your point about it being a bit like traveling back in time to hear what people back then would have heard.

Whoops! 😞

Yes. Well, me and Verituner.

@@insidepianos Your octaves are just perfect... kudos for lots of string mating and all the grit work that goes into such a tone. Oh, and I love the tunings possible with Verituner!

@UUpianoman Thank you! I’ve been using the Koval 2.6 stretch recipe. What’s your go-to? And also, thanks for appreciating all that goes into getting pianos to the next level!

@@insidepianos I happen to love Bremmer's EBVT III and also use Koval's 2.6. on grands with good scale designs.

@@insidepianos and as for good tone... once you know what that really entails, you know.

I just brought a similar vintage R into my home for my personal piano (for a while, at least, before it finds its way to my showroom). I think it’s a good vintage. Check out the bridge to make sure there isn’t a lot of cracking around the bridge pins. Maybe talk to the tuner about the feel of the pinblock. Those are things that would be very expensive to address. I hope it works out well for you!

@@insidepianos thanks, I'll keep an eye out. love your content!

Noted. Mind telling me more about the rest of your setup? Mics, preamps, mic pattern?

@@insidepianos Thanks for your answer!! I have 2 two AKG C 2000B plus a handy recorder Zoom H4 next. I haven't found yet a favourite position for the mics... my question is more oriented to discover what results can be achived in editing the sound of just thoese two pair of mics with Audacity since this software seems more limited than yours, but I`m no expert.

I meant that I was using a hammer similar to those used in Baldwins of the 60s and earlier but because the piano was built in 1980 it featured their modern innovations such as the vertical hitch pins. In that way, this piano is a blend of classic Baldwin and modern Baldwin.

@@insidepianos Thanks. Also, can you say how many boxes of the Paulello you needed for the lower treble section?

@ablamborn One small spool of each size you decide to use is enough for one piano. You can use the “Typogrammen” on Paulello’s website to help determine the best place to transition back to modern wire.

Thanks, David! It just sold and will be going into a club with jazz and singer/songwriters. I feel it will project beautifully. How’s Blondie?

@@insidepianos Oh, perfect! Blondie's still spectacular of course. Blonder than ever! Je me ferais teindre en blonde...

😆 I’m sure Edith Piaf would have bought a blond piano too, if asked.

@@insidepianos No doubt! BTW, TH-cam just showed me some guy playing Brahms on a Bosendorfer. So of course now I have to take another crack at it. Thanks alot!

@david_dudash Haha! Sorry about that!

All praise the algorithm!! Thanks for watching and remarking.

What do you mean by that?

What *I* mean by that is that they often sound bigger than they are. They have a power and a bass that suggests a longer piano than you’re actually hearing.

Good luck! They can be really soulful pianos!

I appreciate the encouragement!

Truly! And I’ve found 70s Baldwins to be an excellent vintage. Coincidentally, or not so coincidentally, I’ll be purchasing an R from that era next. It’s destined someday to go in my showroom but will begin this next chapter as our piano at home. I’m very excited about it! Thanks for watching!

@@insidepianosNice Debussy, by the way. I’m trying to refine that piece, but I have a ways to go 😀

Thanks! I learned it recently myself.

Thank you so much, Scott! You’ll see a recent lack of videos but I aim to rectify that. Glad to have you as a viewer!

Thank you for the kind words, Bill! I’m sorry you’re not happy with your restored O. It should have a “rich warm tone”. I’m curious if you like the sound of this O. It was restored about 13 yrs ago by Mosaic Piano Service then I voiced it when selling it on consignment. It was quite special, I thought. th-cam.com/video/U-tpEJCv6g0/w-d-xo.htmlsi=6hB7mpiJ1w4CXuHj

The warmth and depth of Bacon felt hammers is really appealing to me as well. In fairness to the Wurzens this is not exactly an apples to apples comparison in that the Baldwin with the Bacon felt was completely restrung. It benefitted from the new strings (w a hybrid scale) and the niceties that went along with it such as new agraffes and a refined V-bar. I’ll also say the Wurzens were much easier to voice. They had plenty of tone from the get go. It was mostly a matter of using needles to deepen the tone then to remove excessive brightness. I only used a little hardener for the bass hammers and the top 5. By contrast, it took a while to cultivate the tone in the Bacon felt hammers. I snuck up on what I liked through incremental hardening and playing it in. But in the end…{chef’s kiss} You may know this, but you can search the PTG (Piano Technicians Guild) to help you find talented technicians in your area. In case you’re ever wanting to renew your Model R. They’re definitely worth it!

Thanks, Tim. Means a lot. I’ve mentioned Baldwin’s sometimes-poor approach to their hammers but I also feel that Baldwins are victim to America only having room in their hearts for one piano brand (Steinway, obviously). I feel if Baldwin, other pianos for that matter, were given the same level of care as Steinways, the general opinion regarding them would be less checkered.

🤣 Well, Debussy said that the only rule he follows is “my his own taste”, so you have him to thank.

I’m feeling the love, thanks. I have dialed my perfectionism up to 11 for the SD6 but rest assured an update is coming.

Staffan! Thanks, my friend!

Late 90s. Maybe 98, but I’m not sure.

Pedal noise one has to fix. If you’re talking about damper noise, I try not to have the mics too close them.

That’s a great model! I hope you find someone to bring out its full beauty.

Glad to hear it! Feel free to report back.

I have a six six 1925 Chic, magnificient but you will need to do lots of work to make the piano sound that way as with all old pianos, are you a piano tech?

In an ideal world, yes. Definitely a protocol I use for my restrings. When limited for time, with established pianos I sometimes accept what’s there.

The short answer is that I do it because it usually helps. In a controlled environment on a single instrument I can get a cleaner, fuller sound by phase aligning. Not sure I’d find this is a reverberant hall where more comes out in the wash, or if I was recording a chamber ensemble.

😆 I’ll take that!

Much appreciated, David!