"Fish"....my best guess...

[Stéphane Collin]

Hello David.

Don't get me wrong, I didn't pretend that fishes don't help, nor that 
cut-off bars are useless (who am I to pretend that ?).  I have no problem to 
believe what you say, following you experience, that is, no doubt, so much 
larger than mine.  I just said that nothing is simple, and that I have a 
harder time to find a theoretical formalization that satisfactorily depictes 
what happens in a piano, than to find a real world counter-example that 
apparently contradicts the said formalization.  But in my effort to do so, 
reading your posts is a great inspiration and gives much energy.
By the way, you (and recently Dale) point out something very true : while I 
have carefully listened to many, many pianos, I never heard what you guys do 
out there.  I wish I were rich enough to afford a flight to USA (and back, 
of course).

Best regards.

Stéphane Collin.

P.s. : while writing this, I read your following post about hammer matching. 
Again, comes to mind this Pleyel 260 cm piano with the softest hammers I 
ever encountered (from the time where, like on leather covered hammers in 
pianofortes, it was the voicing technician who glued the last layer felt, 
and controlled it's tension at gluing time).  Yet, this is very, very 
bright.  I suppose that the hammer weight is here another very important 
factor, together with the strike point and the soundboard things. 
Everything is so intricated !



The long lasting high treble on an old
> piano doesn't seem as long lasting when you are able to compare it with
> something that really is long lasting.  The installation of the fish I
> have found to improve the musical quality of the high treble
> considerably.  Much less extraneous noise.
>
> David Love
> davidlovepianos@comcast.net
>