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<DIV><FONT face=Arial size=2>right on David</FONT></DIV>
<DIV><FONT face=Arial size=2>Chris Solliday</FONT></DIV>
<BLOCKQUOTE dir=ltr
style="PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
<DIV style="FONT: 10pt arial">----- Original Message ----- </DIV>
<DIV
style="BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: black"><B>From:</B>
<A title=davidlovepianos@comcast.net
href="mailto:davidlovepianos@comcast.net">David Love</A> </DIV>
<DIV style="FONT: 10pt arial"><B>To:</B> <A title=caut@ptg.org
href="mailto:caut@ptg.org">'College and University Technicians'</A> </DIV>
<DIV style="FONT: 10pt arial"><B>Sent:</B> Sunday, May 27, 2007 3:42 PM</DIV>
<DIV style="FONT: 10pt arial"><B>Subject:</B> Re: [CAUT] Voicing
method/analogy</DIV>
<DIV><BR></DIV>
<DIV class=Section1>
<P class=MsoNormal><FONT face=Arial color=navy size=2><SPAN
style="FONT-SIZE: 10pt; COLOR: navy; FONT-FAMILY: Arial">Yes and moreover,
hammer selection (heavy, light, dense, not dense) will depend on soundboard
response (primarily), scale design (secondarily—but not far behind). An
older soundboard prone to whump and whine type of tone will likely be much
better off with a lighter and probably softer hammer than a heavier one and
harder one—personal taste notwithstanding. Hammer choice for a suitable
tonal match first, action ratio to accommodate hammer choice second, voicing
to smooth the bumps third. </SPAN></FONT></P>
<P class=MsoNormal><FONT face=Arial color=navy size=2><SPAN
style="FONT-SIZE: 10pt; COLOR: navy; FONT-FAMILY: Arial"></SPAN></FONT> </P>
<DIV>
<P><FONT face="Times New Roman" color=navy size=2><SPAN
style="FONT-SIZE: 10pt; COLOR: navy">David
Love<BR>davidlovepianos@comcast.net<BR>www.davidlovepianos.com</SPAN></FONT><FONT
color=navy><SPAN style="COLOR: navy"> </SPAN></FONT></P></DIV>
<P class=MsoNormal style="MARGIN-LEFT: 0.5in"><FONT face=Tahoma color=black
size=2><SPAN
style="FONT-SIZE: 10pt; COLOR: windowtext; 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> Sunday, May 27, 2007 12:01
PM<BR><B><SPAN style="FONT-WEIGHT: bold">To:</SPAN></B> College and University
Technicians<BR><B><SPAN style="FONT-WEIGHT: bold">Subject:</SPAN></B> Re:
[CAUT] Voicing method/analogy</SPAN></FONT></P>
<P class=MsoNormal style="MARGIN-LEFT: 0.5in"><FONT face="Times New Roman"
color=black size=3><SPAN style="FONT-SIZE: 12pt"></SPAN></FONT> </P>
<DIV>
<P class=MsoNormal style="MARGIN-LEFT: 0.5in"><FONT face=Arial color=black
size=2><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial">Ric,
</SPAN></FONT></P></DIV>
<DIV>
<P class=MsoNormal style="MARGIN-LEFT: 0.5in"><FONT face=Arial color=black
size=2><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial">All you say is on the
way as long as we stay focused on the fact that heavier hammers require a
lower action Ratio and lighter hammers require a higher one. Hence Ed M's
actions worked best with a 15.65mm knuckle. I'm sure you know this I just
wanted to extrapolate alittle, maybe even clarify...</SPAN></FONT></P></DIV>
<DIV>
<P class=MsoNormal style="MARGIN-LEFT: 0.5in"><FONT face=Arial color=black
size=2><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial">Chris
Solliday</SPAN></FONT></P></DIV>
<BLOCKQUOTE
style="BORDER-RIGHT: medium none; PADDING-RIGHT: 0in; BORDER-TOP: medium none; PADDING-LEFT: 4pt; PADDING-BOTTOM: 0in; MARGIN: 5pt 0in 5pt 3.75pt; BORDER-LEFT: black 1.5pt solid; PADDING-TOP: 0in; BORDER-BOTTOM: medium none">
<DIV>
<P class=MsoNormal style="MARGIN-LEFT: 0.5in"><FONT face=Arial color=black
size=2><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial">----- Original
Message ----- </SPAN></FONT></P></DIV>
<DIV style="font-color: black">
<P class=MsoNormal style="BACKGROUND: #e4e4e4; MARGIN-LEFT: 0.5in"><B><FONT
face=Arial color=black size=2><SPAN
style="FONT-WEIGHT: bold; FONT-SIZE: 10pt; FONT-FAMILY: Arial">From:</SPAN></FONT></B><FONT
face=Arial size=2><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial"> <A
title=ricb@pianostemmer.no href="mailto:ricb@pianostemmer.no">Richard
Brekne</A> </SPAN></FONT></P></DIV>
<DIV>
<P class=MsoNormal style="MARGIN-LEFT: 0.5in"><B><FONT face=Arial
color=black size=2><SPAN
style="FONT-WEIGHT: bold; FONT-SIZE: 10pt; FONT-FAMILY: Arial">To:</SPAN></FONT></B><FONT
face=Arial size=2><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial"> <A
title=caut@ptg.org href="mailto:caut@ptg.org">caut@ptg.org</A>
</SPAN></FONT></P></DIV>
<DIV>
<P class=MsoNormal style="MARGIN-LEFT: 0.5in"><B><FONT face=Arial
color=black size=2><SPAN
style="FONT-WEIGHT: bold; FONT-SIZE: 10pt; FONT-FAMILY: Arial">Sent:</SPAN></FONT></B><FONT
face=Arial size=2><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial">
Saturday, May 26, 2007 6:01 PM</SPAN></FONT></P></DIV>
<DIV>
<P class=MsoNormal style="MARGIN-LEFT: 0.5in"><B><FONT face=Arial
color=black size=2><SPAN
style="FONT-WEIGHT: bold; FONT-SIZE: 10pt; FONT-FAMILY: Arial">Subject:</SPAN></FONT></B><FONT
face=Arial size=2><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial"> [CAUT]
Voicing method/analogy</SPAN></FONT></P></DIV>
<DIV>
<P class=MsoNormal style="MARGIN-LEFT: 0.5in"><FONT face="Times New Roman"
color=black size=3><SPAN
style="FONT-SIZE: 12pt"></SPAN></FONT> </P></DIV>
<P class=MsoNormal
style="MARGIN-BOTTOM: 12pt; MARGIN-LEFT: 0.5in; MARGIN-RIGHT: 0in"><FONT
face="Times New Roman" color=black size=3><SPAN style="FONT-SIZE: 12pt">In
principle this is sound reasoning as far as it goes. It does not take into
consideration however the physical limitations imposed on hammer velocity
for a given hammer mass in the context of the system we call the action. Nor
does it take into consideration things like increased flexing of the shank,
the requirements for counterbalancing both in static and dynamics senses.
All else being equal... this would work just as well as Ed McMorrows Light
Hammer philosophy. In his case.. the lack of weight would be
compensated by the increased velocity yeilding the same nett impact
force.... velocity times mass. If it was just as simple as this...
then any combination of velocity times mass that equaled any other given
combination would yeild the same force on whatever stopping force was
encountered. But as we know... it isnt.<BR><BR>Not to say that to some
degree one can employ these ideas to achieve some resultant effect... but I
dont really think these have been quantified really yet. Clearly, IMHE
in anycase.... an equal velocity times mass given to significantly different
hammer masses will not yeild the same tonal affects no matter what voicing
is done.... but just what exactly are all the contributing causes to the
resultant differences are not, I think, known at this point... only guessed
at.<BR><BR>I find folks attempting to use hammer weights that are
equivalants of what might be called 3/4 over load Strike Weights... ala
Stanwood... i.e. a level above his smart chart hammers. Bass SW's
starting at 15 grams.... Personally I find this kind of thing ....
well untenable in the end. Just as much so as I find the extreme light
hammers proposed by McMorrow (whome I have great respect for as I do
Stanwood). Using Stanwoods gauge again... I see a max SW curve of
perhaps 1/2 tops and a minimum of perhaps 1/4 medium as in the useble range
for about 99.8% of anything I can possibly imagine as acceptable. Outside of
these mass levels you run into all manner of other considerations that need
to be delt with... all yeilding in the end what is what I believe all the
data out there tells us will not be met with acceptance in the world of
pianists. There are always the exceptions... Horowitz comes to mind...
<BR><BR>I just took a 20 year old Steinway D that had had a hammer change
done a few years back without regard to key leading. The Strikeweight Curve
was fairly even and ended up a pretty smoothed out 1/4 top. Ratio
(ala Stanwood) of 5.7 +.... and I balance the keys to just slightly
above his recommended maximums to end up with a 36 gram BW. The
pianist... one of todays Rubenstein types.... simply loved the touch.
New bushings and polished key pins of course helped as well... I
think the most important thing to remember in voicing using hammer mass as a
tool.... is to keep things in reasonable ball parks. No one is going to hit
a 580 foot home run.<BR><BR>Just some thoughts from the other side of the
pond<BR><BR>Cheers<BR>RicB</SPAN></FONT></P>
<P class=MsoNormal style="MARGIN-LEFT: 0.5in"><FONT face="Times New Roman"
color=black size=3><SPAN
style="FONT-SIZE: 12pt"><BR> It is well established
that adding weight to a hammer changes the tone.<BR>Flexibility or
springiness of the material added is also a factor.<BR>Analogy:<BR>A student
railroad engineer was instructed to bring a 100 car train to a<BR>precision
stop. Immediately after doing so, there came a jolt, and
the<BR>locomotives were pushed well past the target before stopping
again. The<BR>student was instructed that brakes should have been
deployed to compress the<BR>train prior to the stop. Stopping
with a stretched train allowed the rear<BR>of the train to still be moving
forward after the front had stopped so when<BR>the "slack ran in" the front
was pushed forward.<BR><BR>Consider a piano hammer as a train, the strike
point being the locomotive,<BR>and the tail the rear cars. A hard
hammer with no spring is like a<BR>compressed train, where the tail stops at
the same time as the strike point.<BR>In a soft hammer the weight of the
tail is still moving upwards after the<BR>strike point has
stopped. A factor in tone is from the type of stop made,<BR>or
how much "run in of slack" or "after push" occurs when strike
point<BR>stops. <BR><BR>You can voice rock hard hammer heads by adding
controlled flexible weight<BR>appendages to create the optimum amount of
springy "after push" or "run in<BR>of slack". Choose a glue or caulk
which dries flexibly or springy and add<BR>to the inside of the tail cove.
Trim and shape it for weight and amount of<BR>flex. A pronounced
blob of glue of a given amount will have more flex than<BR>the same amount
spread in a thin layer inside the tail cove. This is a<BR>viable
voicing method to develop and use in your arsenal.<BR><BR>-Mike
Jorgensen </SPAN></FONT></P></BLOCKQUOTE></DIV></BLOCKQUOTE></BODY></HTML>