Soundboards and Hammers

[antares]

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On 18-feb-05, at 21:53, David Love wrote:

> There's hard and then there's firm but resilient.   The Abel Select =
was
> a bit too firm but could be voiced down to accommodate and had enough
> resilience to work.  As I said, I don't know whether it was the =
perfect
> hammer.  I was able to get it to work.  Next one I will try a Bacon=20
> felt
> Ronsen (which I actually didn't try).


I have learned that discussions about hammers on this list, and in=20
general, are very interesting, but that in the end, each technician has=20=

his/her own motives and preferences for choosing this or that hammer.
The choice of hammer often depends first of all on hearing development=20=

and background, secondly on the method or technique he/she has=20
acquired, and thirdly, 'possibly' under the influence of the technical=20=

and commercial environment he or she moves in.
At the same time we find several developments and schools in regard to=20=

voicing and.... a multitude of tastes.
Lastly, the end result always depends on the perception of the=20
technician of what voicing is, and on his or her technical training=20
background.

I personally have developed a definite musical taste, based on the=20
choice for a certain kind of felt, and on a hammer made by a certain=20
hammer maker.
Because voicing has become a daily routine for me, I also have=20
developed my own insight and my own technique.
Based on that insight and technique, I think that it would not matter=20
to me what kind of soundboard an instrument has, but more what kind of=20=

hammer I find in that instrument.
The kind of soundboard defines character, power or weakness, and=20
personality of the instrument.
The voicing technician adapts to whatever instrumental subject he/she=20
is confronted with, and the outcome depends on technical skill, the=20
quality of the felt, and the experience of the hammer maker.
A great instrument with a lousy hammer will always be at a=20
disadvantage, no matter how fantastic a voicing tech is.
A lesser instrument may gain very very much with a hammer change of the=20=

right choice, and a tech who knows about the making of tone.

So, in my opinion, it all boils down to 1. the quality of the=20
instrument (read soundboard) 2. the quality of the hammers 3. and -=20
especially -the experience and skills of the technician.


friendly greetings
from
Andr=E9 Oorebeek

www.concertpianoservice.nl

"Where music is no harm can be"



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