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In a message dated 9/29/2003 10:16:37 PM Pacific Daylight Time,
hufford1@airmail.net writes:
Robin wrote
Also, again only one man's opinion, this is the
most efficient possible use of a hammer assembly, and, I think, the more
Conventional 90 degree installation is substantially less efficient.
The point, though, that I tried to make, is that I can't agree that the
numerous tonebuilding and strungback repair techniques available to
technicians cannot correct this problem where there is one. They can.
Any set of hammers that has to be lacquered any more than in the last
octave or so, is intrinsically a defective set, in my opinion and I place
little store in the techniques of "voicing up" or "down " even though I have
learned them myself at a prominent factory or in seminars here or there
where this whole process has been elevated into a kind of professional art
and skill which I think is complete nonsense technically and, fundamentally,
a fraud. This entire process, coupled with the vastly larger heavier
hammer frequently found on new American pianos,and the large, monstrous
shanks lets this area stand out first as slightly different on some new
pianos in some cases. But, it is a big mistake, in my opinion, to jump on
this and immediately conclude the soundboard has failed which is a most
common assumption made here.
Hi Robin
I'm a bit confused as to the comments regarding voicing up or down as an
art being a fraud. Perhaps you'd care to clarify this. Are you saying that you
don't voice hammers? If so then how else are tonal problems corrected in your
practice? I strongly disagree with the comment about lacquering hammers. This
method when used on workable felted hammers requires only enough solution to
stiffen the spring rate of the hammer felt and not enough to keep them from
being carefully needled for small tonal adjustments. If your referring to the
over juicing of hammers till they become petrified then I can quite agree with
you. But I've juiced countless sets of hammers and the good ones will be
difficult to tell that any kind of juice has been applied when needles are inserted.
A workable hammer by my definition is one that recks little juice or
needling to get the proper tonal results. The more a set of hammers leans to
either extreme, either too stiff or not stiff enough, the less tonally satisfying
the outcome can be. Voicing stability is also often compromised in a too stiff
hammer and too soft may remain puffy sounding, well forever.
I certainly agree that the use of too heavy of hammers in many American and
other pianos too be a poor idea especially in the killer regions. Remedies in
this area can too often be poor hammer placement missing the strike line.
Simple a modifications of certain portions of the strike line can render a
substantial improvement in tone. Also as I'm sure you know many pianos are very
sensitive to too much weight and a little dieting in the weight dept. goes along
way to a better sound.
Regards--Dale Erwin
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