Hi Fred.. er... ah... grin.. sorry bout that. Ed also wrote a reply I had fired off an answer too. Coulda been worse... I could have called you both "Fed" ! As for the other Ed you bring into this.... one of my favorite persons in the world ! I've heard a few of his pianos and they do very well indeed. Especially the ones he rebellies. I am unsure of whether or not he has any special belly methods in mind to match his light hammer philosophy. Last I saw him I was quite a bit more young and dumb then I am now. Put in the light of older pianos and the touch considerations you mention... his <<extremes>> suddenly sound less extreme. Grin.. just when you think you've decided you have decided on something somebody has to go and shake your ladder... thanks a lot Fred :) Looks like I'm not going to get any real response going on the basic belly questions I raised. Sigh... what was it we were talking about earlier.... something about how easy it was (or wasnt) to learn on your own ? btw... I didnt take your post as an argument against Stanwood methodology. Your comments went (if I understood them correctly) in the direction of raising some degree of skepticism to some application tendencies. Cheers RicB Hi Ric, It was Fred, not Ed. I should clarify that I am not arguing against David Stanwood's methods, which work for whatever ratio you choose. I am arguing against a tendency to get stuck with some default standard that then gets applied to every piano. I think there is a lot to be said for McMorrow's light hammer arguments, for example. A light hammer propelled at a high ratio will have the potential for a greater tonal spectrum because it can reach greater velocity (more felt compression on impact), and the player can shade the velocity more. Obviously this depends on the player and lots of other factors. But I would like to see more variety of method, and since the manufacturers seem to be pretty much converging, that leaves it to us techs <g>. Regards, Fred Sturm University of New Mexico fssturm at unm.edu
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