hammers

[antares@euronet.nl]

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On dinsdag, jun 3, 2003, at 01:46 Europe/Amsterdam, Isaac OLEG wrote:

> Hello Andre,

Hallo mon ami,
> =A0
> Very interesting post indeed, and are actual C3 C7 hammers using=20
> Wurzen or not ?

No, they have a different felt. I am not sure what it is but I think=20
'Royal George' felt.
> =A0
> Talking about the maintenance of the efficiency of the Yamaha hammers,=20=

> a common process here is to consider that the back of the hammer=20
> harden very little, as it is considered as the springy part of the=20
> hammer. On the contrary, the front top zone (from 10 to 11:30) harden=20=

> much because it is more solicited while playing, and it is responsible=20=

> for most of the attack noise.
> =A0
> Then taking back to original the volume and brilliance of an hardened=20=

> Yamaha hammer would be needling=A0almost only =A0the front to unpack =
that=20
> hard zone, and also thumping hard on the 9:00 Zone , always front, to=20=

> open the tone.

One of the things I have learned in ze factory is to give the back a=20
little more needling than the front because of the flex of ze shank.
When hammers have hardened considerably because of a lot of banging, we=20=

only needle near the crown anyway as a cushion is a cushion and we=20
don't want to sleep with our heads on 'ze ground'.
>

> I have seen a Fazioli intoner working with the same idea , one side=20
> for energy one side for power, equilibrium of the moments between the=20=

> 2 sides to obtain the=A0"phasing". Battery needling on the back =
only=A0to=20
> obtain a more fast rebound=A0.

Well, whatever you say, but I believe in symmetry. Aside from that=20
Isaac, there is the 'touch'...from the way a hammer feels you should be=20=

able to deduct what the cure should be.
> =A0
> Is =A0not the imbalance induced by this=A0method =A0limiting the tonal=20=

> range,=A0 you said that you believe that the 2 sides of the hammer may=20=

> absorb the shock, but the front still act differently than the back is=20=

> not it ? .

That's what I said...but the idea was to reserve the frontal energy by=20=

not giving it the same amount of needling.
> =A0
> Is it what you mean when you say that you believe in symmetry ? or did=20=

> you mean only the shape of the head.?

The shape of the head is most important in the very first place but the=20=

amount of needling should be close to the same except for the reason of=20=

hammer shank flex.
> =A0
> The method I described there is giving a definite change in tone when=20=

> attaining certain level of velocity, on the other hand, I feel that=20
> the possibilities offered are still a little binary, opposed to a full=20=

> blooming hammer with springiness on the 2 sides (in a simplified view=20=

> of the process).

You know.....this is what it comes down to : many teachers have said to=20=

me " Andr=E9, in the end, nobody can tell you what to do..you have to=20
find out for yourself what is best by experimenting ........trial and=20
error".

Those kind of answers always irritated the hell out of me because I=20
wanted a clear cut answer.
For that reason I went to the max in finding out 'my' ultimate truth=20
about voicing. I spent countless hours in those industrial complexes,=20
spending night after lonely night with just myself.
It was no fun but it was an education in itself. during my third time=20
in Japan I went through a barrier, a sound barrier so to speak, because=20=

at that moment it all became clear. I had spent so many hours and days=20=

and months without really understanding and there, in that lonely place=20=

where nobody spoke a bloody word of decent 'Inkrish' I found my way out=20=

of the maze and I went home a happy boy.

Then I started telling others about what I had understood and I=20
developed methods to make it simple and clear to them, and I found out=20=

that by keeping it as simple and clear as possible, others could grasp=20=

it in one weekend where it had cost me - years - of hard labour.
This afternoon I did 'first voicing' on a rather difficult STW B and I=20=

thought about that....and I thought " how should I describe to others=20
this very complicated process of creating harmony and smooth power in a=20=

set of new hammers, so that this STW again becomes a real nice=20
instrument,  so that the customer will clap in his hands and be very=20
happy with it? It can be only be done by cutting all the crap to a very=20=

basic and simple form : a peace of felt, three needles and two ears.=20
The method I have in my head : it can be told and shown within one=20
weekend. The final experience comes with years of doing the same thing=20=

over and over until you fall aside.

Antares,
The Netherlands

see my website at : www.concertpianoservice.nl

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