Bischoff: There is! Pianos have a head voice and a chest voice, just like humans. The bass bridge represents our chest voice and the long bridge represents our head voice, and right at the bass break, where the treble strings end and the bass strings begin, that’s always the most troublesome area in a piano. We have to make that voice blend, and the smoother that transition, the better the piano. The bass break is different on every piano, but it’s an octave or so below middle C, somewhere in that range, it can be less.
Where do we start? What note?
Bischoff: In North America, the pitch standard for tuning is A440. That means when I hold my tuning fork and strike it, it vibrates exactly 440 times per second and when I touch it to the piano, it sings A. Anyone who brings any instrument out in the orchestra will have it tuned to A440 as well. But Europe is pushing pitches higher. Today in Europe, some orchestras are tuning to A443, even A446. Bsendorfer is now designing pianos so they sound best at A443. Halls have gotten bigger and bigger, so pianos have gotten bigger and bigger. So instruments have to be louder, they have to project more, they have to be explosive. When pitch goes up, tension goes up and the instrument gets louder. Super old pianos have historical tuning temperaments and pitches – A420 or A425 – so everything is a little darker, warmer and smoother and tinier and sweeter.
What treasures have you found inside pianos?
Bischoff: A lot of dead mice, a lot of money, thousands of coins. There’s a saying: if you ever need a pencil or a pen, look inside your piano. Tea, mouldy unrecognizable things, paper clips, cat hair, guitar picks, music books, missing jewelry, and lots of mouse nests. Piano is mouse heaven! There is tons of felt to build their houses out of. Pianos have white, red, and green felt – but mice only pick one colour. One will have a green nest, the next will have a white nest, but you’ll never see a green and white nest.