Thanks for your reply Mr. Sutton. One more question when you have a chance. Suppose one is going to replace #54-76 on aSty D, critical V-bar area, to increase volume. Is this goingto be insufficient if the startling increase that Chris and David are talking about is dependent on a coupling effect throughoutthe instrument? I don't stray from traditional methods oftenbut inquiring minds have to know so I'll order some up andtry this on a newer D here.
--- On Fri, 9/10/10, Ed Sutton <ed440 at mindspring.com> wrote:
From: Ed Sutton <ed440 at mindspring.com>
Subject: Re: [CAUT] WNG parts
To: caut at ptg.org
Date: Friday, September 10, 2010, 12:53 PM
Hypothesis 1. While in contact with the string, the
hammer functions as a damper to reduce higher partials.
In this sense, felt softness, weight of the hammer,
amount of surface in contact with the string and resistance in the action center
may all be somewhat equivalent in so far as they produce similar damping
effects. Perhaps a whipping or twisting movement in the shank also increases
damping. Therefore, if the carbon shanks have less whipping and twisting than
wood shanks, the damping may be less. Result, more power, more
brightness.
Hypothesis 2. Since slapping of the strings against
the hammer produces very high partials as the hammer is leaving the string,
perhaps the more rigid carbon shank lets the hammer get away from the strings
faster, producing fewer high partials.
Hypothesis 3. Perhaps the wobbling of wood shanks
accelerates out-of-phase motion of string waves in higher partials (similar to
irregular hammer/string contact). Thus the carbon shank, with less
wobble, allows the unison to settle sooner into an organized wave
form.
Hypothesis 4. The lighter carbon fiber parts
produce an action such that a higher percentage of the input energy is used to
move the hammer, thus delivering more energy to the string relative to effort of
playing.
Finally, Hypothesis 5. The inefficiencies of wood
action parts (relative to carbon fiber) produce a kind of "buffering" of the
varied energy inputs of the performer, tending to "even out" the resultant
sound. By producing less "buffering," the carbon fiber parts produce a "more
sensitive" or "more responsive" action, capable of delivering more controlled
gradients of timbre.
Ed Sutton
----- Original Message -----
From:
Brent
Fischer
To: caut at ptg.org
Sent: Friday, September 10, 2010 1:55
PM
Subject: Re: [CAUT] WNG parts
Hi David,
Your probably the one to answer the deflection
and energy transfer
issues related to all this. So there is really nothing to do with
any
vibrational qualities of the parts themselves but is a dramatic
increase
in energy transfer to the wire. Does this mean that there is a
possible
loss of let's say up to twenty percent from wood shanks? Then
how
does this increased stiffness add up with a complete carbon
action
including the back action and subsequent consequence on
amplitude.
I can see how the energy transfer could relate to sustain but
also brightness?
WNG website asserts much about action control but I have not
read anything
about the acoustical consequences. There is still the
factor of the felt
bushing so maybe we'll see the redemption of the teflon
bushing or maybe
a new carbon one.
Brent
--- On Fri, 9/10/10, David Stanwood
<stanwood at tiac.net> wrote:
From:
David Stanwood <stanwood at tiac.net>
Subject: Re: [CAUT] WNG
parts
To: caut at ptg.org
Date: Friday, September 10, 2010, 8:47
AM
Hi Guys,
Doug Wood told me a story... he
changed out the wooden shanks on a perfectly voiced Steinway D for WGN
shanks... Kept the same hammers. The difference was startling.. MUCH
LOUDER!
David Stanwood
PS - the Subject line is getting
off course here... should be "WNG parts"... not "CAUT Digest, Vol 23,
Issue 23"
> Brent, I assure you it is not the resonator that
I experienced. I have been working with Masons for over 30 years. No
this was definitely the shank and Bruce Clark explained that the
sustain begins sooner and lasts longer as a result. The difference is
quite startling.
> Chris
Solliday
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