Spring fever (or feverish springs)

[dpitsch]

I understand that Horowitz wanted his rep spring set very strong.  On a very soft
blow the hammer can be heard to "bubble".  Listen to his recordings and it is
there.  I also heard that the muting felt put in the duplex sections was removed
throughout the piano, creating some real audible ...  let's see ...  "sounds?" or
is that "noises"!  Apparently this artist thought strong rep springs did give him
faster repetition.  Either that or he liked the "kick back" feel.

ETomlinCF3 wrote:

> Ed ... Two Ed's are not better than one. LOL  I see what you wrote and just
> disagree.
> I still feel a fast rise after check is best for performance...not a "strong"
> spring but a properly set spring.  Would love to see at what speed you are
> setting rise.  I wonder how far off we set our actions.  Many times I feel we
> split hairs on the list.  I have had the very same reaction to regulating work
> by performers....who is right?
>
> Ed Tomlinson
>
> <<    Also,  with the softer settings, the drop can be set at let-off
> distance,
>  further increasing the sensitivity of the action at pianissimo levels of
> play.
>  This is important when you have the let-off set to just barely miss the
>  excursion limits of the string.
>     Perhaps for the average-use instrument, strong springs allow fewer service
>  calls , but for ultimate performance, they get in the way.
>
>  (Hot Damn!!  Flame suit fresh from the oven, pulled on and zipped up
>  tight!!!!!!)
>
>  Regards to all,
>  Ed Foote >>