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<DIV><FONT face=Arial size=2>Hello Wim</FONT></DIV><FONT =
face=Arial
size=2></FONT></BLOCKQUOTE>
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<DIV><FONT face=Arial size=2>I am always surprised that piano =
technicians
haven't developed a very precise language for describing tonal, or =
voicing
problems. In fact usually the most basic observations don't seem to =
have been
made, or at least are not mentioned. This is not a criticism of you in =
particular, but I do see lots of room for improvement in the =
profession. I
also see it as our responsibility to help pianists describe what =
they're
hearing, which means teaching them how to listen objectively. It is =
perhaps
the notion that timbre is subjective that has prevented us from =
examining the
many tonal attributes can be objectively observed. There will still be =
plenty
of room for individual preferences when that has been =
done.</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV><FONT face=Arial size=2>Looking at individual notes in the =
various ranges
of the piano (when in tune) one would do something like the
following:</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV><FONT face=Arial size=2>Check Hammer spacing, string level =
(phase
problems), then</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV><FONT face=Arial size=2>Check the strike point (ie. seeing =
that the
hammer strikes the string at the correct antinode). This is best done =
right
after the hammers are shaped. This is done by sliding the action in =
and out a
fraction of an inch while repeating a loud blow. The right spot =
emphasizes the
fundamental lower consonant partials, so you have to listen "low' in =
the
sound. When you get some skill doing this, you'll hear tonal changes =
in the
bass with movement of as little as 1/64th inch. The factory strike =
point isn't
always right. No amount of needling or lacquer will get rid of =
dissonant
partials or loss of power due to incorrect strike point.</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV><FONT face=Arial size=2>Check the tone at ppp, and sugarcoat =
untill it's
clean and even.</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV><FONT face=Arial size=2>Next, compare power curve to color =
curve. Does
the tone get brighter the louder you play. (One of the areas for =
individual
preference is here; how much brighter do you want it?) If the color =
curve ever
reverses direction as you crescendo, you'll have two problems. First a =
lack of
sustain at that power and above, second the tone will appear dull and
sometimes coarse. What you are hearing is that the hammer is softer =
underneath
than above, which suggests the solution. The coarseness can be caused =
by
either of two things, sometimes both: 1. a hard spot high in the =
hammer, which
can be fixed either by hardening below, if you want a brighter piano, =
or
softening the hard spot and doing nothing below, or both. The choice =
you make
will give you a different piano from the others, but still a musical =
one. 2.
The coarsness could also be the result of a new phase problem. Even =
though the
hammer is level with the strings, the boundaries between the softer =
and harder
parts of the hammer underneath may not be level with the strings. When =
you
play at the relevant power level, this sounds just exactly like the =
hammers
and strings were never mated to each other. Play at that power and =
check the
tone of the left string only against that of the right string only, =
then
needle at the appropriate depth on the brigter side, until both sides =
sound
the same. This softening will gain you power because the strings will =
sound in
phase.</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV><FONT face=Arial size=2>In general, it's a correct =
relationship of
hardness between the upper part of the hammer and the lower that's the =
issue,
not the absolute hardness levels. The hammer should get harder as you =
go
deeper into it; that's what makes the power and color curves move in =
the same
direction. If you want a piano with a lot of punch, the levels will be =
harder
overall. If you want a lush piano, make them softer. You can be very =
creative
in deciding how lush at ppp and how snorty at fff.</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV><FONT face=Arial size=2>It sounds from your description like =
you may have
a color curve reversal going on. A reasonable person could call the =
resulting
sound unfocused. Good luck.</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV><FONT face=Arial size=2>Bill</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT><BR><BR>At 07:29 AM 10/1/2004, =
you
wrote:<BR></DIV>
<BLOCKQUOTE class=cite cite="" type="cite"><FONT face=arial =
size=2> <BR>I
need some help from some of you who have lots of voicing
experience.<BR> <BR>The D in our concert hall has a problem, at =
least
as perceived by one of our piano faculty and a musicologist. They =
differ on
where they hear the problem, but it seems to be the same sound they =
hear.
They describe it as a wave length that is very wide, as opposed to a =
more
focused wave. It is not so much a twangy sound and it lack a certain =
amount
of depth. They are even leaning towards a soundboard problem. The =
piano is
only 2 years old. <BR> <BR>I have lacquered and voiced the =
hammers last
year, and this summer spent quite a bit of time leveling strings, =
making the
sure the hammer strike point is level, etc. All the usual fine =
point. But I
want to see what I can do to get more "focus" out of the
hammer.<BR> <BR>Thanks<BR> <BR>Wim
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