Sound and touch

Sound and touch

Sound and touch of C. Bechstein instruments are unique. On this page you will learn why Bechstein instruments can play in such differentiated manner, so that even professional pianists are full of praise for our grand piano.

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Tonal spectrum

C. Bechstein is characterized by a high dynamic range, the sound opens like a flower and enables a remarkably wide tonal spectrum. In addition, it is possible to change tones in the different dynamic levels. All components in the ensemble harmonize with one another – from selected components to optimal processing.

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Hammer head, felts and voicing

C. Bechstein uses special, long-fiber hammer-head felts, which are stretched in two layers over a walnut core. The voicing of the hammers is conducted manually. This achieves from note to note a seamless fine-tuning of the timbre, tone sharpness, softness and brilliance. Voicing is an art that requires passion, experience and time. It is carried out by masters of their craft with years of concert-stage experience on stage, who are able to unleash the full tonal range.

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Keybed, keyboard frame and keys

Key bed, keyboard frame and keys are made from select pine wood, which has a high stability and elasticity at a comparatively low weight. The key bed provides a solid foundation for the playing mechanism. Inserts from beech solidly secure the grand piano feet.

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The musical mechanism

C. Bechstein offers the best quality musical mechanism from white beech and maple. Bechstein individually tests all mechanical components, calibrated them in accordance with strict tolerances and combines them into a technical masterpiece, which can withstand the highest loads. The fantastic controllability and subtlety of the Bechstein's musical mechanism are unparalleled the world over and receive the highest praise from pianists.

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Criteria of a good grand piano touch

In assessing the touch, there are probably different opinions concerning one and the same mechanism. Also, separating the sensation of sound and touch is not easy. The effects of voicing are also perceived in the manner of playing. Also common preferences have changed over time. For example, at the beginning of his career Rubinstein raved about the free movement of old Bechstein grand pianos, Horowitz' grand piano is known for its ease of playing, today some pianists send tuners instructions on how to modify the mechanics of a grand piano.
Ultimately, what counts is always the overall impression that a player has of the instrument, the relationship between input and output, also between the pianist’s manner of playing and the instrument’s response or feedback, the match between what is heard and felt. This should always be kept in mind. Then a good touch means having a mechanism that enables good and pleasant repetition, is controllable for every kind of playing, enables the most effective implementation of the way keys are pressed, does not work too hard under the fingers, but also not too soft, vague or imprecise. Furthermore, in the course of movement it compensates for all resistances, inhibitions and disturbances (bounce) in a coordinated way. That is, it tolerates, converts, and responds to a great variety of playing methods and nuances so that the player has the safe feeling that the grand piano will transform everything with no problem. This requires, of course, a perfect combination of keyboard, mechanics, hammer heads and sounding bodies.
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