Dale, > but I equally Love the?Type of sound you are trying to achieve for your own >ears assuming I know what I think it is. I too have been on that trail many >years & I would describe the sound I find most interesting as sweet but >intensely colored. This does not mean it is a sound with out power, but more >like power with out noise, or Pure tone.? Yup...that's it. Boy, I wish I was in your neck of the woods or Ron N's, or Dels to sit down with these instruments. But that is why I am committed to the understanding and implimenting RC&S concepts along with realizing my long term vision of piano sound. >I?dislike intensely?a predominate?slap or impact sound which is why I most >frequently but not always?Avoid the more densified hammers. I want the sound to >illicit a strong fundamental from the get go & hammers pressed to a medium >stiffness have an innate ability & will?demonstrate?a strongly present >fundamental right out of the box. Here's where the action/belly interactiveness come in. When the fundamental comes without the strike noise, or at least with minimized strike noise (so you still have percussive nature of the instrument) the perception is one of instant response to the key stroke. Its an illusion I think, but who cares, perception is my only reality. I think there is a wider window in how your fingers are allowed to interact with the action when the sound which follows has minimized the initial strike noise. I call that noise the "cringe and wait". The "cringe and wait" also forces me to alter ever so much the ideal tactus of the music I'm playing...really a bummer. I can alsop "put up" with a lot more of heavy action under better belly conditions. >? The other element which you mention?is the soundboard structure it self. As I >become more exposed to the intriguing sounds of the redesigned belly's?we've >all? heard about & built by colleagues the more I realize that this is the >other half of the equation. That's where I'm going. >?? The Stwy B?Dennis I built & took to the rebuilders gallery in Anaheim now >resides in my living room.??A modest but recently renovated acoustic space. >This piano sounds so sweet in this room & yet it has real >power. It's an >ethereal sound. & when the shift is on the sound goes into a lower gear which is >entirely a dark sweet whisper . I first heard this mysteriously new sound by >the pianist who played it in?our class with a Ravel piece. My musical voice is french...very impressionistic...This is why this sound appeals to me. Rachmaninoff and the romantics for whom the modern piano was developed are not my cup of tea. Does your B agree to play this kind of Germanic Romanticism? Not so much for my ears, for for someone else's ears >?I will admit that I want this action a bit lighter & due to horrible original >manufacturing errors? the stackneeds to move forward about 2 mm as well as >capstan...again.? this will also correct the still small strike line issue it >has IMO...be it ever so small. I have always felt that S&S actions are challenged puppies, despite the hype and silly patent claims. That's why Bruce Clark's geometric framework is so attractive to me. Actually it's mostly understanding and implimenting geometry that had been in the piano designers book for a long time. I am happy with the feel that the current M&H are designed to. But I want to see it in a different belly: hence why I engaging this pursuit. >?I finally have??my own piano I'm entranced by Man, yo' singin' my song. >? Kindest regards >? Dale Erwin Jim -- Jim Ialeggio www.grandpianosolutions.com (under construction) Shirley, MA (978) 425-9026
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