voicing - was Convention musings

[Roger Jolly]

I don't disagree, but since the board/ bridge design is fixed, I can only
work with what I can vary.
How ever due to the audible lenght of the partial string, and given that
hammers do not often wear evenly, and phasing due to hammer angles being
critical, this area will always  have a certain amount of unevenness within
the assembly process.
The change of string type will also be a factor, since you are introducing
an extra vibrating mode from the winding.
Board design will not completely correct these variables only minimize them.
Since string winding tension ect has a large effect on the harmonic content
and power, please educate me on how you integrate the bass string
scaling/design with the Z of the board.
A direct formula will suffice. 
Regards Roger
>
>Sorry old stump, but a line's been crossed and I'm going to have to take
>exception to this one. The bass/tenor break is, last (read LAST, *L* *A* *S*
>*T*) of all, a voicing problem. It is (maybe) a roughly equal split between
>a soundboard impedance, and/or a scaling problem, but it is rarely a voicing
>problem. Any hammer voicing that is even necessary across this break is a
>result of a design and/or construction deficiency. If the soundboard and
>string scale is designed and built correctly, no hammer voicing magic is
>required to disguise the problems because the problems aren't there in the
>first place. It usually ain't the hammers' fault, and most likely isn't
>going to be cured by hammer voicing. Voicing can effectively disguise
>fundamental design and production deficiencies to some degree, but it needs
>to be understood that it isn't a correction or a fix of these deficiencies.
>The problems are still there, and will likely come back at you at a later
>date. One can only take post disaster "Band Aid" patches so far, and a free
>lunch or a silver bullet is still a myth.  
>
> Ron N
> 
Roger Jolly
Baldwin Yamaha Piano Centre
Saskatoon and Regina
Saskatchewan, Canada.
306-665-0213
Fax 652-0505