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<DIV><SPAN class=902592817-09012004><FONT face=Arial color=#0000ff =
size=2>The
idea is very good, one should have to produce not key to key comparison, =
as when
the pianist play he assimilate very quickly some sort of mental image of =
the
resistance of the key (static resistance ?) in regard to the tone =
obtained, and
he he get accustomed to it very soon.</FONT></SPAN></DIV>
<DIV><SPAN class=902592817-09012004><FONT face=Arial color=#0000ff =
size=2>So it
may be advisable to define clearly a zone of five white notes and the
corresponding sharps , for instance C to E then F to A so the keyboard =
have the
same configuration in both.</FONT></SPAN></DIV>
<DIV><SPAN class=902592817-09012004><FONT face=Arial color=#0000ff =
size=2></FONT></SPAN> </DIV>
<DIV><SPAN class=902592817-09012004><FONT face=Arial color=#0000ff =
size=2>Then
the pianist can test more easily. what happens to the response of the =
notes
.</FONT></SPAN></DIV>
<DIV><SPAN class=902592817-09012004><FONT face=Arial color=#0000ff =
size=2></FONT></SPAN> </DIV>
<DIV><SPAN class=902592817-09012004><FONT face=Arial color=#0000ff =
size=2></FONT></SPAN> </DIV>
<DIV><SPAN class=902592817-09012004><FONT face=Arial color=#0000ff =
size=2>Using
strong double side tape is enough for this tests. I consider doing that =
myself
also.</FONT></SPAN></DIV>
<DIV><SPAN class=902592817-09012004><FONT face=Arial color=#0000ff =
size=2></FONT></SPAN> </DIV>
<DIV><SPAN class=902592817-09012004></SPAN><SPAN
class=902592817-09012004></SPAN><SPAN class=902592817-09012004><FONT =
face=Arial
color=#0000ff size=2></FONT></SPAN> </DIV>
<DIV><SPAN class=902592817-09012004><FONT face=Arial color=#0000ff =
size=2>Best
Regards.</FONT></SPAN></DIV>
<DIV><SPAN class=902592817-09012004><FONT face=Arial color=#0000ff =
size=2></FONT></SPAN> </DIV>
<DIV><SPAN class=902592817-09012004><FONT face=Arial color=#0000ff =
size=2>Isaac
OLEG</FONT></SPAN></DIV>
<BLOCKQUOTE dir=ltr
style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #0000ff 2px =
solid; MARGIN-RIGHT: 0px">
<DIV class=OutlookMessageHeader dir=ltr align=left><FONT =
face=Tahoma
size=2>-----Message d'origine-----<BR><B>De :</B> =
caut-bounces@ptg.org
[mailto:caut-bounces@ptg.org]<B>De la part de</B> Ed
Sutton<BR><B>Envoyé :</B> vendredi 9 janvier 2004
18:20<BR><B>À :</B> College and University
Technicians<BR><B>Objet :</B> Keyleads and =
MOI<BR><BR></FONT></DIV>
<DIV><FONT face=Arial size=2>Dear List-</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV><FONT face=Arial size=2>This discussion of MOI in piano =
actions has been
one of the great moments on this list.</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV><FONT face=Arial size=2>Throughout this discussion I have =
been trying to
find an answer to the question "How can I tell if it matters enough to =
do
something about it?" and "Is there a point of diminishing return where =
we
should stop worrying about key lead placement?" As =
practicing piano
technicians, this is the question we are all seeking to
answer.</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV><FONT face=Arial size=2>The act of playing a piano is so =
complex, the
demands are so varied, and the techniques, sizes and shapes of people =
who do
the playing are so varied, that while analysis of the physics of the =
action
give us insight, I don't believe it can give final =
answers.</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV><FONT face=Arial size=2>Ultimately the answers will have to =
come from
empirical performance tests using real musicians.</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV><FONT face=Arial size=2>I have been trying to think of some =
way to test
this that doesn't require an immense budget and research lab, since I =
have
neither!.</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV><FONT face=Arial size=2>So I've done various thought =
experiments, looking
for something feasible.</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV><FONT face=Arial size=2>Here's the best I can imagine so =
far. I
would appreciate critical comments:</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV><FONT face=Arial size=2>1) Start with a piano with a well =
designed and
regulated action. It should have strikeweight and frontweight
continuities, even balance weight and friction as low and even as =
possible,
and presumably wippen assist springs. The keyleading should be =
as
consistent from key to key as possible.</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV><FONT face=Arial size=2>2) Add extra key leads to certain =
keys. Add
these leads in pairs equidistant from the balance pin hole, one lead =
to the
front, one to the back. In this way the measured parameters of
frontweight and balanceweight should not change, but the MOI of =
various
adjacent keys would be very different. If, for example, one =
large lead
is added, front and back at 8" from the balance pin hole, the relative =
MOI
difference between keys will become greater from bass to high =
treble.
</FONT></DIV>
<DIV> </DIV>
<DIV><FONT face=Arial size=2>3) Have pianists play the piano and =
report on
what they feel and how it influences their playing. Compare =
their
reports with actual locations of extra lead.</FONT> </DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV><FONT face=Arial size=2>Thanks for your =
comments.</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV><FONT face=Arial size=2>Ed =
Sutton</FONT></DIV></BLOCKQUOTE></BODY></HTML>