As some have said, the damper swell that JD describes seems to happen in all pianos. It's just a matter of degree and whether the recycling produces enough energy to further move the soundboard and thereby add to the tonal picture. The last three pianos I tuned today are good examples. A crappy Kimball spinet had the effect some and the Boston Grand had virtually none and an older Steinway O had more than the Boston and about the same as the Kimball. None produced an outstanding amount. Once the energy gets recycled the ability for the soundboard to respond to the secondary energy input must depend on various factors. One might be its mass or stiffness that inhibit it from moving in the first place. The Boston is a pretty heavy assembly judging from the scale and thickness of the panel at the belly rail. The other might be the amount of potential energy in the system. The old Steinway O has a fairly lightweight system so you might expect that it would move significantly more with the same kind of input, but the difference wasn't that significant. It may be that the internal tension in that Steinway doesn't exist anymore (due to age) and so the potential energy ready to be unleashed by even a small input of energy just isn't there. Some combination of those two factors are at play in any system and might be a factor here. With respect to bloom (the other subject) I think this is something different though it might be related to the way the system is operating in some way. Imagining what it would look like graphically we typically think of the tone output graph as an attack spike followed by a drop in amplitude followed by a decay which takes the form of some exponential curve--the shape of the curve and the rate may vary. If we imagine what bloom would look like, there would need to be a slight increase in the amplitude following the first drop from the attack phase and then a decay curve. If you think of that curve in terms of energy then it's not possible since no energy is added to the system at any point. But if you think of that curve based on the amplitude of some given frequency or frequencies then it is possible since you may have the coupling effect of the same frequencies coming together from different sources. So why would that happen? It might happen because the chaos phase of the soundboard produces the same frequencies but in parts of the board that are reacting out of sync with other parts of the board. When they finally coalesce into some unified movement you get a rise in the amplitude of some of those frequencies that you hear as bloom or swell, whatever you want to call it (forgive my lack of technical vocabulary in explaining the physical process==hopefully others will supply that missing piece). So if that's true, that it's something like that, it has some interesting implications. It would require that the system be able to go into a chaotic phase of some type enough to create a disparate set of functioning but like frequencies that eventually become unified and effectively raise the amplitude of those specific frequencies. A very tightly controlled system in perfect balance that could not be driven into that initial imbalanced chaos phase might not then have the ability to do that. The tone would appear very controlled and clear but not have that sense of liveliness or swell or bloom or whatever you want to call it. It is interesting to note that some of the redesigns that I have been involved with or heard that use large cut off bars, more centered bridge location, stiffer assemblies have these characteristics of control and clarity (good qualities) but do lack that bloom. They are more straight line decay without that liveliness or bloom suggestive of a soundboard system that for a brief moment when the energy is first input into the system struggles to get everyone on the same page, so to speak. Now I can't say whether that goes with the territory or whether that's a foregone conclusion or whether I've described, albeit intuitively, what is actually taking place, but I sure wonder about it. David Love www.davidlovepianos.com
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