> *my tonal envelope is power with out noise. Or as Starr Taylor says" > Without the strident clang that permeates the piano tonal landscape of > today" Predominant fundamental balanced by upper partial clarity but > no clang and little percussion on hammer impact sound*. got it...a much more informative description... thanks > * I seem to be allergic to it* Absolutely....I personally will not tolerate the clang... but it is one of the most difficult parts of the tonal envelope to deal with without losing that "pop" that crisply starts the tone. I recently heard a 150 yr old 9ft chickering original board/hammers with a tonal shape in the bass that was utterly unique, and something I am looking for in working the design issue. No clang or whine whatsoever, with what I have to assume is actually a sounding fundamental rather than a partials which are perceived fundamental . I am going back to measure if there is actually fundamental sounding down there, and get the string scale which Gene Roe has worked up. The sound was such that I could physically feel it in my gut, kind of like when I was a kid watching the 4th of july parade and the bass drums would go by...went right to the solar plexus it did. Powerful but in a comfortable and inviting way. One of the things that I've noticed about the local rc&s attempts is, that in general, what I've heard has a too complex and prominent collection of upper partials. Graphs of the contents of the sound envelope show fundamental, a strong showing, but a very heavy and complex collection of upper partials which, to the ear/mind makes it "seem" as if there is poor fundamental. My own bellies up to this point show similar tendencies. This is why I'm particularly interested in other factors that are effecting the initial attack other than assuming that the rib scale is the only issue that is relevant. I am on board that it gives repeatable control over targeted spring, and will continue to commit my efforts to the refinement of that spring profile, but I'm also thinking hard about how the panel/bridge restricts that targeted rib spring in ways that I dont have a good handle on. Interestingly I think that the voicing of these designs requires a different voicing approach than we are used to. As a conversation I had with Ron N a while ago pointed out, needling Bacons(I've been using targeted min applications of steam to the interior of the shoulders) seems ridiculous at first, until you see what it does tonally. Or from a different perspective, same with lightening up the hammer and increasing leverage aka Ed Mcmorrows lighthammer ideas. Still learning Jim I -- Jim Ialeggio grandpianosolutions.com 978- 425-9026 Shirley, MA -------------- next part -------------- An HTML attachment was scrubbed... URL: <http://ptg.org/pipermail/pianotech.php/attachments/20100715/c47c6886/attachment.htm>
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