A great post by Dennis Johnson (Subj: Re: Inertia and Action Parts Date: 95-01-12) <<We all know that the Hamburg offers greater leverage and can handle a heavier hammer, if that is what you or the player likes.>> Greater leverage for me means the mathematical ratio. Does "greater leverage" for you mean greater ability to lift a hammer? If moving a heavier hammer is also what "Ken (Sloane) referred to when he said 'mechanical advantage.'", we should remember the trade-off involved here. The only reason we can lift a heavier hammer is because in the bargain we're also having less of a distance over which to throw it. This is leverage's classic trade-of,whether to activate a string with a heavier but slower slug of mass, or with a light hammer which has a greater distance over which to develope velocity. There is one theory that because the pianist has control over only acceleration, this should be the favored partner (over mass) which delivers the force With a wider range of acceleration to play with and in, the pianist can develope more gradations of expression. Another theory says that these strings really need a slug by a bigger mass to really wake them up. With distortions eliminated in the voicing, they will sing with a much larger voice. (I have heard this happen myself.) <<the Renner c.1911 shank with the small knuckle offers a significantly quicker repetition. >> At the risk of admitting inexperience, what are the salient features of the small knuckle? Is it simply that the jack contact point can be nudged up closer to the hammer/wippen center axis? Is the quicker curvature if the small knuckle an advantage or disadvantage when the jack moves out then in? Would a heavier hammer pound this curvature flat sooner tan a larger knuckles curvature? <<These c.1911 parts, when used in combination with an appropriately light hammer can perform the same touch weight specs. as the Hamburg, but it requires some radical weight reduction.>> In what situation do "appropriately light hammers" really need "radical weight reduction". Are these hammers one in the same? Do I need bi-focals? <<there is definitely a different "feel" between these actions with more or less leverage, even when the touch weight is practically the same.>> That's what we're all chasing after, what Ken Sloane proposed a colloquium on in Albukerky. (Did I spell that right?) << Two have the Hamburg action with N.Y. hammers and one has the c. 1911 with Renner Blues.>> I'd love to be corrected by facts (which are always useful), but aren't the Renner Blues a notch heavier than the NY Steinway, even after trimming? <<I offer both dimension actions in our hall, where we have three Steinway D's..... Many times you just have to make an educated judgement based on your knowledge of the player, but whenever possible it really helps to have them come and play the two different actions.>> You Bet!. Being a rural tuner instead of an institutional type, I would hunger mightily for what could be learned by having this to offer a pianist. <<I may have drifted into another topic>> Knuckle configuration as a function of hammer mass, repetition as a function of knuckle size. allowing a pianist to sample both a D with acceleration and a D with hammer mass...You drifted off into a couple Thanks again for the post Bill Ballard RPT "I gotta go ta woik...." NH Chapter Ian Shoales, Duck's Breath M. Theater
This PTG archive page provided courtesy of Moy Piano Service, LLC