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<p class=MsoNormal><font size=2 color=navy face=Arial><span style='font-size:
10.0pt;font-family:Arial;color:navy'>It might very well be that thinned shanks help
especially with harder hammers on low tension/light soundboard designs.
My own theory is that hammer resilience (bounce) matching string tensions in
some way is critical for hammer/string contact time in terms of how partials develop
vis a vis the fundamental. With a poorly matched harder hammer on a light
assembly, anything that assists in the effective resilience of the hammer shank
assembly will be a benefit. With softer hammers that are a better match
for the string scale/soundboard interface, a thinned shank will not be necessary.
Similarly, with higher tension scales and accompanying stiffer soundboard
assemblies, a thinned shank on a firm and heavier hammer won’t reap the same
benefit and might, in fact, be a detriment. </span></font></p>
<p class=MsoNormal><font size=2 color=navy face=Arial><span style='font-size:
10.0pt;font-family:Arial;color:navy'> </span></font></p>
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<p><font size=2 color=navy face="Times New Roman"><span style='font-size:10.0pt;
color:navy'>David Love<br>
davidlovepianos@comcast.net<br>
www.davidlovepianos.com</span></font><font color=navy><span style='color:navy'>
</span></font></p>
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<p class=MsoNormal style='margin-left:.5in'><font size=2 face=Tahoma><span
style='font-size:10.0pt;font-family:Tahoma'>-----Original Message-----<br>
<b><span style='font-weight:bold'>From:</span></b> caut-bounces@ptg.org
[mailto:caut-bounces@ptg.org] <b><span style='font-weight:bold'>On Behalf Of </span></b>Chris
Solliday<br>
<b><span style='font-weight:bold'>Sent:</span></b> Saturday, May 19, 2007 9:53
AM<br>
<b><span style='font-weight:bold'>To:</span></b> caut@ptg.org<br>
<b><span style='font-weight:bold'>Subject:</span></b> [CAUT] killer shanks</span></font></p>
<p class=MsoNormal style='margin-left:.5in'><font size=3 face="Times New Roman"><span
style='font-size:12.0pt'> </span></font></p>
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<p class=MsoNormal style='margin-left:.5in'><font size=2 face=Arial><span
style='font-size:10.0pt;font-family:Arial'>Bob Hull</span></font></p>
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<p class=MsoNormal style='margin-left:.5in'><font size=2 face=Arial><span
style='font-size:10.0pt;font-family:Arial'>Yes I taper/channel the whole set
and sort by weight. I am told that the stiffening is akin to I-beam
construction but I am not an engineer so consider that hearsay. Speaking of
hearing just put a tapered shank in the middle of the bass section amongst the
hex and see if you hear a difference. I do. I get a stronger 3rd partial
most of the time and I like that. I think tha doing this clears up
the tone of the whole piano. You should experiment for yourself. A factory
channeled complete set is available from Abel through Wally Brooks who was the
first person to point out the attributes of doing this for
me. As I recall they are only Hamburg specs but I have used them
with success. Wally will also channel other sets for you for a small
fee. I am told that other sets are available from Pianotek and others but
I have not gotten any so consider that a rumor. Usually I channel my own with a
router gig and/or free hand on a belt sander. It is surprising how quickly
and uniformly they can be turned out which is why i often don't bother
with the router set up. I sort by weight to help smooth the Strikeweight taper
ala Stanwood. I hope we can get some slow mo video on the difference someday.</span></font></p>
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<p class=MsoNormal style='margin-left:.5in'><font size=2 face=Arial><span
style='font-size:10.0pt;font-family:Arial'>Chris Solliday</span></font></p>
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