I just moved 5 hammers in a killer section of a D. It has improved (not cured) that region some. Do you think that this weak area of the board benefits from some change in the strike ratio? If the board in this case were in good shape would it sound better as designed? Here's an area Dr. Stephen Birkett could study! dave _______________________ David M. Porritt, RPT dporritt at smu.edu -----Original Message----- From: pianotech-bounces at ptg.org [mailto:pianotech-bounces at ptg.org] On Behalf Of Ron Nossaman Sent: Friday, July 27, 2007 10:50 AM To: Pianotech List Subject: Re: Finding the strike line another method >When you, or > Dale, have set up the piano with the curve in the line to get the best > tonal result, do you find that the hammer is striking the string at > different proportions of the speaking length? This is a good question. We tend to presume that the piano was designed with a linear progression of strike ratio from the middle of the scale on up, and was built accordingly. But, even assuming that it was actually built to design specs, is a linear progression optimal? What are the determining factors? I haven't done any research along these lines, but I'd think that hammer hardness, weight, and resilience would be a factor in defining the ideal strike point, as would soundboard response, perhaps. The strike line deviations from a straight line happen in the low treble section - the killer octave. Why? Just hanging the hammers where they work best is good enough for getting the job done, but I'd like to know more of the why here. Another interesting thing to look into. Ron N
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