---------------------- multipart/alternative attachment In a message dated 7/3/2002 7:57:57 AM Pacific Daylight Time, Erwinspiano writes: > Subj:Re: Night And Day > Date:7/3/2002 7:57:57 AM Pacific Daylight Time > From:<A HREF="mailto:Erwinspiano">Erwinspiano</A> > To:<A HREF="mailto:pianotech@ptg.org">pianotech@ptg.org</A> > > > > In a message dated 7/1/2002 7:59:26 PM Pacific Daylight Time, > mfarrel2@tampabay.rr.com writes: > > > >> Subj:Re: Night And Day >> Date:7/1/2002 7:59:26 PM Pacific Daylight Time >> From:<A HREF="mailto:mfarrel2@tampabay.rr.com">mfarrel2@tampabay.rr.com</A> >> Reply-to:<A HREF="mailto:pianotech@ptg.org">pianotech@ptg.org</A> >> To:<A HREF="mailto:pianotech@ptg.org">pianotech@ptg.org</A> >> Sent from the Internet >> >> Hi Terry > > I don't think you are all wet. But I do think much of this discussion > is about hammer and voicing preference based on experience > Some years ago When Bob Davis and I taught our Everyday voicing class > we installed 13 different hammers in the middle octave of the piano. We > used a stwy because our samples were on stwy shanks. We then set out and > voiced this octave as well as we could. Mind you these hammers were all > different weights and 13 different makes. Some had sloder wrapped around > the shanks for weight etc. > During class we would play the octave several times chromatically and > then ask if the octaves voicing sounded uniform and also what kind of > hammers did folks think these were. > Usually a majority of the folks thought the voicing was quite good and > were astounded when we'd pull out this action with a hodge podge of > hammers. > Our point was that familiarity of all voicing styles and tricks along > with a proper understanding about how hammers produce tone would allow the > tech to be able to voice any brand of hammer. > I think what you'll find is that any piano with a decently designed > soundboard system can be voiced/hammered with a variety of different makers > hammers and sound great and in many many cases far superior to the original > sound of the original equipment. > That being said I think that some vague generalitys can be made. Stiffer > soundboard systems seem to require more hammer weight and more felt > stiffness. > My experience says that softer more reselient hammers give me personally > a tone/color I prefer even if I have to juice it up which I'm totally > comfortable with. But I've voiced quite hard Abels in several Mason A's > which sounded like glass when raw and the pianos sounded incredible after I > literally pulverized the hammers with needles including many deep stiches > into the crown. Did it sound good?yes. Do I think the hammer needed to be > that hard to start with? I didn't think so. > My prefrence is I don't like to do that much needling. It shouldn't be > necessary. > Also voicing stability should be and is a major concern. The more I find > I must needle, the faster the hammers rebound to there original harsh sound > and more frequent voicing is required, and clients don't really appreciate > that if it's too often. > I find the softer more reseileint hammers even when lacquered ( or > whateverd) properly to usually provide for ,in my opinion, longer lasting > voicing stability. > From a rebuilders or manufacturers point of view it is to my advantage > to use a hammer that provides for voicing stability and tonal dynamics that > shows off the piano (our work) for as long a period as possible without the > difficulty of excesive voicing either initially or in the clients home. > Does this make sense?? > .... Dale Erwin > > > >> >> It seems that I read sometimes this hammer is too hard, that hammer is too >> soft, etc. Is it not the case that some hammers will work with some piano >> types, and other hammers with other pianos? Such as, softer hammers might >> work well on pianos with efficient soundboards, a firmer hammer, such as >> an Abel, might work good on an older piano whose soundboard has lost some >> of its efficiency, and maybe and rock hard hammer (asian) will work well >> with an asian piano that maybe has a relatively inefficient soundboard >> design? >> >> Isn't that a better way to look at the hammer question? I can't believe an >> Abel is no good for any piano, and I can't imagine that an Isaac or a >> Steinway hammer will work well on all pianos. >> >> Or am I just all wet? >> >> Terry Farrell >> > ---------------------- multipart/alternative attachment An HTML attachment was scrubbed... URL: https://www.moypiano.com/ptg/pianotech.php/attachments/1a/b0/a4/59/attachment.htm ---------------------- multipart/alternative attachment--
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