Hi Jon. Same here. I found the crescendo punchings too noisy for older Bechstein pianos. Absolutely great for an older Steinway A. Here like in many other places, some (stiffness, precision, volume, bass, whatever) is good, but too much is offending. I suppose that the whole structure of the piano responds to the shock of the key hitting the punching in a way that can be musically desirable in some pianos, but offending in other (less firm, less loud) pianos. I suspect it is mainly a question of balance between the thump and the body of the note. Also, a louder thump will subjectively increase the "hard landing" feeling of the finger in the bottom of the dip, and so will the more rigid action frame. Maybe also a more responsive soundboard is able to transform that heavy thump into nice singing overtones and after ring who will improve the sound of the instrument. On the Bechstein, it makes the sound harsh and dry, and like you want to voice the hammers down again. I for now do try many arrangements, see what works best. I found that some older Pleyel pianos really ask for a very thin soft felt punching covered by a woven fabric circle (sorry for my approximate English) to avoid premature wear. This is what goes with their (too) flexible keys and (too) thin action frame. It is about fine tuning all the vibrations. And probably would I tune those differently in a large reverberating hall, who will definitely transform the (otherwise too loud) thump into a nice expressive creative feature, useful to articulate the musical phrases (foreseen that the player is connected with the reverberation return). Just my thoughts about this. Stéphane Collin. -----Original Message----- From: pianotech-bounces at ptg.org [mailto:pianotech-bounces at ptg.org] On Behalf Of Jon Page Sent: mardi 5 février 2008 6:18 To: pianotech at ptg.org Subject: Andre's Front Punchings vs Schimmels However, Cresendo FR punchings were too noisy for a Chickering Quarter grand. The softer, pear green ones were used. -- Regards, Jon Page
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