voiceing

[Keith Roberts]

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Dale,
It does matter.  We can save a lot of circle making by not using those =
first two words. Did you learn how to spell in Tuolumne County? =
Ass=3Du=3Dme. That's how I spell it and that's what can happen. Doesn't =
matter? <G>
These are my takes so far, correct me please.
Boom: The fundamental or 1st partial. Loudest and longest sustain of all =
the partials
Clang: The 2nd, 3rd, and 4th partials. The bell tones, with the 2nd and =
4th partials adding "fullness" and the 3rd partial adding "color". ( two =
more words that need defining and/or correction)
Sizzle: The higher partials. (hare rama) The partials most likely to =
cause "noise" (rama rama) due to significant differences in the higher =
partials  of strings of a unison. (hare Krishna)(gesundhiet) [you'll =
have to ask your brother Keith what those last ones mean].
Woof: The initial burst of sound; contains Boom, Clang, and Sizzle.
Yelp: Woof without much Boom; or maybe we can define Woof and Yelp and =
Yap? as a product of hammer force or medium, hard, and soft blows.
The dog is in an empty school: Hollow sound, presence gets lost.
The dog is in a shed: Complete sound, just muffled or far away.
Barking in the wind: Sound disappears quickly.
Maybe other people have perceptions of the various sounds a piano can =
produce, and have their own "pet" phrases, or "sound bites" if you =
will..... [forgive me, I couldn't resist]
If we can match a "sound bite" with the cause of those sounds through =
certain tests such as  mass loading the sound board to check  for low =
impedance problems as per Del's post or other suggestions as to how to =
determine the cause, then we might be able to discuss various courses of =
action to manipulate the sound to create beautiful harmony and tone or =
mask problems [notgood mind you, but sometimes necessary for the =
moment].
Keith R.

Dale's post>
  >>>> I asumne you mean boom?/woof. Doesn't matter. I read your other =
post and the fact the piano is not broken in leads to some tonal anemia =
in the area you describe. All three components of the tone are weak and =
if the hammers had a little string marking on them I think you'd find =
the sound a lot more developed.=20
   When string marks have developed on the face of the hammer the tone =
is more solid and the clang boom and sizzle will be more present. =
Usually the boom/woof will be the weakest with that type of hammer and =
you have to do something to let the"big Dog out of the shed" as you say. =
Your string tensions are often lower in this range on an upright and the =
flexibility of the hammer needs to be increased so the too stiff hammer =
doesn/t distort the sound. Voicing thru the cut  side of the hammer will =
give it more spring and drive the fundamental frequency which is your =
boom/woof.
   I would file these hammers with fine sandpaper first (220) to take =
off the fuzz  and clean up the face. Next put your finger on the string =
then pound on the key about 100 times to play in the note and then =
listen to the difference.
     Hey Keith its not your fault the big dog is lock in the shed. She =
needs to play the piano and let the poor guy out!


    >>>>>>>>Dale Erwin>>>>>>>>>>>





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