Perhaps I didn't word that very carefully. Of course a change in hammer will change the tone. My point was that you won't be able to completely mask the underlying tonal structure of the piano by simply changing the hammer. In other words, you won't convert a Yamaha to a Steinway by simply putting a Steinway hammer on it. If you could, we could all have that Steinway sound for a lot less money. The piano will still maintain many characteristics of the Yamaha sound though through a slightly different filter. With respect to soundboard response, there are some good examples of soundboards that have survived well with good sustain and the like. Unfortunately, there are also many that have not. To comment further on the difference in tone between a lacquered and non-lacquered hammer, I think one of the main differences is the layered structure of the hammer necessitated by the presence of lacquer. With the lacquered hammer you are forced to create a thin layer of needled felt over the surface of the hammer in order to mitigate the tendency for the hammers to ping excessively when the lacquer is present on the surface. The crystalline substance laying just below the surface is thus engaged only when the hammer is compressed enough to get through the fluffy top layer. This does create a sense of changing colors as the hammer is played at different levels. You can get a sense, especially in the treble, a sort of crystalline sound beneath a soft veneer. It's definitely a high maintenance type of hammer since that top layer must be maintained carefully. Unfortunately, the constant dressing of that top layer also shortens the effect life of the felt at that level and it must be periodically removed and the process started all over again until you get down to where the lacquer is simply too dense to really deal with effectively. In addition, over time, the lacquer continues to harden and the flexibility of the hammer on a deeper level is compromised and the tone at a forte level tends to get too harsh. The non lacquered hammer need not be put through the same procedure because there is no lacquer noise factor to avoid. The tops of these hammers can be polished with very fine paper in order to get that shine in the tone that lacquer provides without fear of an unwanted zing resulting from an unaddressed lacquer crystal. Those hammers tend to have a more stable voicing and, treated well, a longer effective life. At least that's my take on it. David Love davidlovepianos at comcast.net www.davidlovepianos.com -----Original Message----- From: caut-bounces at ptg.org [mailto:caut-bounces at ptg.org] On Behalf Of Richard Brekne Sent: Friday, September 21, 2007 12:47 AM To: caut at ptg.org Subject: [CAUT] S&S Hammers and lacquer / an old S #287725 On this general subject I'd like to report I just got finished with an old S.... actually one of the nicest sounding S instruments I have ever heard. Absolutely delightful treble... and really I suppose I could say that from around F2 upwards... The lowest bass is a bit tubby... or however one chooses to describe that low bass sound Steinway gets. The new hammers were evened so as to conform to a Stanwood top medium curve, and were German Renners Wurzen I felt. They needled nicely and ended up with about 50-60 three needle 6-7 mm deep first needling jabs in the bass.. down to around 25 in the highest treble. Sustain time was quite astounding for this old Steinway... Tunelab registered between 2.1 and 3.4 seconds on C8 !! (6 samples) F7 3.1 to 4.9 ! C7 had a high of 5.5, F6 8.1, and C6 a whopping 11 seconds. Given the many discussions about the Steinway soundboard design... I really find myself lacking for a way of finding compatibility between this result... and the idea that these boards will by definition loose their ability to function well. I might add that the sound was anything but thin and weak... it was full, round and very powerful. I'd put it up against many very new pianos of larger size... A recording of this instrument will be forth coming. In anycase... back to the lacquer / non-lacquer bit.... I still have the old hammers and will see if there is anyone at the UiB who can assertain whether lacquer had been used at any time. Given its a Hamburg instrument... that may be doubtfull... and even if there is, the lacquer could have come from anywhere. I also know of a early 30's B laying around town.... all original and laying hidden in a garage for about 60 years... Cheers RicB
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