--- On Fri, 9/10/10, Brent Fischer <brent.fischer at yahoo.com> wrote:
From: Brent Fischer <brent.fischer at yahoo.com>
Subject: Re: [CAUT] WNG parts
To: "Ed Sutton" <ed440 at mindspring.com>
Date: Friday, September 10, 2010, 5:50 PM
Thanks again Ed, the strikeline theory works. I saw the first attemptsSty was trying in the early nineties and have used it since. My planis to first install carbon shanks in the v bar section and make aconclusion on volume and brightness using the existing NY hammers.
After doing my homework I apologize to WNG for not throughly readingtheir site. Under "the new redesigned shank" it is clearly stated thatone can expect an increase in sound and power. Furthermore theyhave developed a "hard bushing." I assume it's carbon and will havethe same effect as teflon without the headache. Carbon on carbon.So no more vibrating parts jokes either. In conclusion, kudos to Bruce Clark for his continued research to make
our profession advance. I met Bruce at a young age, he was showing me aroundthe Pratt and Read plant when we went into an area where the rimpresses for the Mason's had been rescued and were now in limbo,and his quote was something like, " I wonder if they'll ever makethem again." Brent
--- 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: "Brent Fischer" <brent.fischer at yahoo.com>, caut at ptg.org
Date: Friday, September 10, 2010, 4:16 PM
Brent-
I'm not sure I understand your plan, or that
I'm that well informed myself.
One thing to look at in the first capo area of a
big Steinway is the strike point line.
Try testing note by note, and you may find that a
J-shaped line gives better volume.
Other folks will have more to say.
Ed
----- Original Message -----
From:
Brent
Fischer
To: Ed Sutton ; caut at ptg.org
Sent: Friday, September 10, 2010 6:26
PM
Subject: Re: [CAUT] WNG parts
Thanks for your reply Mr. Sutton. One more question when
you
have a chance. Suppose one is going to replace #54-76 on
a
Sty D, critical V-bar area, to increase volume. Is this going
to be insufficient if the startling increase that Chris and
David
are talking about is dependent on a coupling effect
throughout
the instrument? I don't stray from traditional methods
often
but inquiring minds have to know so I'll order some up and
try 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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