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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