Oorebeeks Punch'ns

[jason kanter]

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I'd like to hazard a guess about how these punchings are able to affect
tone.

Firstly let's admit the logical problem. If you look at the mechanical
model, all the motion that contributes to the hammer contacting the string
occurs before the key bottoms out on the punching. So, theoretically, it is
difficult to account for Andre's claims about this improved tone. We can
admit logically that the *feel* of the action may be quite different because
of the punching, because the experience of hitting bottom is such a great
portion of the artist's experience. OK. But the *tone*? Is this magical
thinking? Or may there be a more subtle explanation that satisfies logic?

The truth, I suspect, is in the marvelous nervous structure leading to the
artist's fingertips. The regulation of aftertouch is, let's say, 10x more
precise with the antares punching than with a too-soft punching. I suspect
that the fingers, finding a much more precise bottom, are able to deliver
that much more precise a blow. Having played and found this certain bottom,
the *fingers* are now much more sure of how much force to use in the attack
on the keys. This is what affects the tone. The artist's touch is made more
effective by the clean bottom.

Does this idea play? Or am I making a rationalization for magical thinking?

jason
  -----Original Message-----
  From: pianotech-bounces@ptg.org [mailto:pianotech-bounces@ptg.org]On
Behalf Of antares
  Sent: Friday, April 01, 2005 9:24 AM
  To: Pianotech
  Subject: Re: Oorebeeks Punch'ns



  On 1-apr-05, at 10:15, David Nereson wrote:


    What puzzles me a bit about this article is that it is argued that the
taper somehow makes the punching firmer because it reduces the mass of the
punching at the top where the key hits it. But the diameter is wider than
the green punching pictured next to it, which, I would think, would cancel
out any reduction in mass. I don't doubt that the punchings are better, but
it's hard to believe the taper helps any if they're wider than the plain ol'
green ones. I imagine it's just the more firmly-packed felt (denser), as
mentioned earlier in the article, that makes the key hit bottom with a more
positive (less squishy) stop.
    --David Nereson, RPT




  As I said before ( and also in my article) : I learned about this tapered
version at the Yamaha Academy.
  My instructor there, at the time, showed me the difference between the
smaller side of the punching up, and the smaller side of the punching down.
  It did clearly make a difference in sound.

  One thing I have learned about this new Wurzen punching, is, that if an
instrument has not been regulated the right way, or when an instrument has
very loud hammers, you will not hear any difference.
  You will hear a difference though when the instrument has been regulated
the right way, and when the hammers have a more or less 'normal' voicing,
i.e. not really too loud, and not really too soft.
  There is of course a wide scale between very soft and very loud, but
then..... those two are extremes.

  The influence of the new tapered Wurzen punching is subtle, and can only
be heard on an instrument which has been regulated and voiced according to
'normal' professional standards.
  The feel/touch of the new punching on the other hand, is an other case :
'any' regulation becomes more clear and more defined when you install these
punchings. How can it not be the case?
  It is a more dense material with a very satisfying elasticity which Vladan
Temer described so clearly before when he tested several kinds of punchings.
  That means that a key dip of 10 mm is a key dip of 10 mm.
  No more, and no less.
  That in itself makes all the difference.

  Capisce? (;

  EAR




  friendly greetings
  from
  André Oorebeek

  www.concertpianoservice.nl

  "Where music is no harm can be"



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