[pianotech] What is bloom,

[Nicholas Gravagne]

Some good ideas and interpolations here, David. Since you usually invite
comments and modifications, I would like to sort out a couple of things
later, but need to get to work. Someone else may jump in before I can
return.

NG

On Fri, Mar 18, 2011 at 9:26 AM, David Love <davidlovepianos at comcast.net>wrote:

> Here's another way to look at it. The amount of potential energy in the
> system is represented by the sum of the compression in the soundboard system
> (as Nick describes) plus the amount that can be delivered by the hammer,
> much like a wrecking ball at the peak of its arc poised to crash into the
> building. Different systems may have those two sources in different
> proportion. For the same energy output you might have one system that relies
> on a greater amount stored in the soundboard and one that relies on a
> greater amount delivered from the hammer. The differences in the way the
> energy is released by virtue of that proportional difference and how that
> manifests itself acoustically might go some way toward answering the JD
> question and the notion of "bloom", whatever that is . With more energy
> stored in the board the total system relies less on hammer input and the
> same total release of energy can be achieved with less energy coming from
> the hammer. When you think about the differences between that Steinway we
> loved with very light and soft hammers that seems to come alive at the
> slightest touch and the Yamaha that requires some greater input of energy it
> all seems to fall into place.
>
> David Love
> www.davidlovepianos.com
> (sent from bb)
> ------------------------------
> *From: * Nicholas Gravagne <ngravagne at gmail.com>
> *Sender: * pianotech-bounces at ptg.org
> *Date: *Fri, 18 Mar 2011 08:36:53 -0700
> *To: *<pianotech at ptg.org>
> *ReplyTo: * pianotech at ptg.org
> *Subject: *Re: [pianotech] What is bloom,
>
> I think so. This has to be the heart and soul of the whole matter. Voicing,
> then, evens things out and brings out the best balance, but the choice of
> hammers is important, after which the voicer can only work with the
> foundation offered by the belly.
>
> Potential energy (PE) is achieved, and is proportional to, the measurable
> compression of the soundboard assembly under the force of downbearing. We
> already know that a string is useless until it is stretched to a high
> tension; PE is introduced and ready to be tapped. Likewise, hammer felt
> stretched and compressed over a molding contains PE, also ready to be
> tapped. PE becomes Kinetic Energy (KE) when tapped, or set in motion. The
> more PE stored, the more KE is available.
>
> Clearly, too much of good thing spoils the effect. There are limits and
> points of diminishing returns.
>
>
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