---------------------- multipart/alternative attachment William, So can we assume that you have in fact developed a "very precise=20 language" describing tonal or voicing problems, and that you're able to=20= "teach pianists how to listen objectively"? My hat's off to you then,=20 and I'd like to see the dictionary for it. We must live in parallel universes. In mine, more often than not, (with=20= exceptions, of course), serious pianists are far too focused on their=20 own (yes, very subjective) worlds of music to have much energy or=20 interest to expend in the direction of a piano technician discussing=20 anything with any technical subtlety. Their eyes glaze, and attention=20 wanders, long before much real understanding has occurred. My experience has been that the most that can be hoped for is something=20= in between Jim Ellis's recommendation (make the piano the best you can=20= and tell them that it's fixed) and your best-case scenario of mutual=20 and satisfying edification and technical problem-solving, with the=20 reality more often than not leaning towards Jim's scenario. Your approach to voicing seems very solid, though. I'm sure you get the=20= job done nicely. Respectfully, Allen Wright On Tuesday, October 5, 2004, at 02:24 PM, William Schneider wrote: > =A0 > > Hello Wim > > I am always surprised that piano technicians haven't developed a very=20= > precise language for describing tonal, or voicing problems. In fact=20 > usually the most basic observations don't seem to have been made, or=20= > at least are not mentioned. This is not a criticism of you in=20 > particular, but I do see lots of room for improvement in the=20 > profession. I also see it as our responsibility to help pianists=20 > describe what they're hearing, which means teaching them how to listen=20= > objectively. It is perhaps the notion that timbre is subjective that=20= > has prevented us from examining the many tonal attributes can be=20 > objectively observed. There will still be plenty of room for=20 > individual preferences when that has been done. > =A0 > Looking at individual notes in the various ranges of the piano (when=20= > in tune) one would do something like the following: > =A0 > Check Hammer spacing, string level (phase problems), then > =A0 > Check the strike point (ie. seeing that the hammer strikes the string=20= > at the correct antinode). This is best done right after the hammers=20 > are shaped. This is done by sliding the action in and out a fraction=20= > of an inch while repeating a loud blow. The right spot emphasizes the=20= > fundamental lower consonant partials, so you have to listen "low' in=20= > the sound. When you get some skill doing this, you'll hear tonal=20 > changes in the bass with movement of as little as 1/64th inch. The=20 > factory strike point isn't always right. No amount of needling or=20 > lacquer will get rid of dissonant partials or loss of power due to=20 > incorrect strike point. > =A0 > Check the tone at ppp, and sugarcoat untill it's clean and even. > =A0 > Next, compare power curve to color curve. Does the tone get brighter=20= > the louder you play. (One of the areas for individual preference is=20 > here; how much brighter do you want it?) If the color curve ever=20 > reverses direction as you crescendo, you'll have two problems. First a=20= > lack of sustain at that power and above, second the tone will appear=20= > dull and sometimes coarse. What you are hearing is that the hammer is=20= > softer underneath than above, which suggests the solution. The=20 > coarseness can be caused by either of two things, sometimes both: 1. a=20= > hard spot high in the hammer, which can be fixed either by hardening=20= > below, if you want a brighter piano, or softening the hard spot and=20 > doing nothing below, or both. The choice you make will give you a=20 > different piano from the others, but still a musical one. 2. The=20 > coarsness could also be the result of a new phase problem. Even though=20= > the hammer is level with the strings, the boundaries between the=20 > softer and harder parts of the hammer underneath may not be level with=20= > the strings. When you play at the relevant power level, this sounds=20 > just exactly like the hammers and strings were never mated to each=20 > other. Play at that power and check the tone of the left string only=20= > against that of the right string only, then needle at the appropriate=20= > depth on the brigter side, until both sides sound the same. This=20 > softening will gain you power because the strings will sound in phase. > =A0 > In general, it's a correct relationship of hardness between the upper=20= > part of the hammer and the lower that's the issue, not the absolute=20 > hardness levels. The hammer should get harder as you go deeper into=20 > it; that's what makes the power and color curves move in the same=20 > direction. If you want a piano with a lot of punch, the levels will be=20= > harder overall. If you want a lush piano, make them softer. You can be=20= > very creative in deciding how lush at ppp and how snorty at fff. > =A0 > It sounds from your description like you may have a color curve=20 > reversal going on. A reasonable person could call the resulting sound=20= > unfocused. Good luck. > =A0 > Bill > > > At 07:29 AM 10/1/2004, you wrote: > > > I need some help from some of you who have lots of voicing experience. > =A0 > The D in our concert hall has a problem, at least as perceived by one=20= > of our piano faculty and a musicologist. They differ on where they=20 > hear the problem, but it seems to be the same sound they hear. They=20 > describe it as a wave length that is very wide, as opposed to a more=20= > focused wave. It is not so much a twangy sound and it lack a certain=20= > amount of depth. They are even leaning towards a soundboard problem.=20= > The piano is only 2 years old. > =A0 > I have lacquered and voiced the hammers last year, and this summer=20 > spent quite a bit of time leveling strings, making the sure the hammer=20= > strike point is level, etc. All the usual fine point. But I want to=20 > see what I can do to get more "focus" out of the hammer. > =A0 > Thanks > =A0 > Wim > ---------------------- multipart/alternative attachment A non-text attachment was scrubbed... Name: not available Type: text/enriched Size: 6517 bytes Desc: not available Url : https://www.moypiano.com/ptg/caut.php/attachments/70/02/a3/88/attachment.bin ---------------------- multipart/alternative attachment--
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