Boston Hammers, was: Interesting Piano Belly - Mehlin Grand

[David Love]

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I----- Original Message -----=20
From: <A440A@AOL.COM>
To: <pianotech@ptg.org>
Sent: July 24, 2002 3:50 PM
Subject: Re: Boston Hammers, was: Interesting Piano Belly - Mehlin Grand
   =20
I was making my remarks totally irrespective of soundboard=20
considerations. =20

 I know, but that was the crux of the conversation.

   I have found my optimum response from Steinway hammers to come from=20
heavily lacquering the shoulders and allowing the hardener to wick =
towards=20
the center. =20

I've found that it's only the part that wicks under the crown that =
matters, so I just lay the hammer on its side and put it there to begin =
with.

>From this beginning, a second, much ligher application of 4:1 lacquer =
allows me to subtly alter the response curve to suit the demands of the =
user.=20

I agree with that approach.
 =20
This results in a hammer that produces a mellow tone on pp playing, yet =
has a=20
trace of high end to give the notes some definition.  As force =
increases, the=20
spectra alters predictably, becoming more brilliant with increasing =
force,=20
finally reaching the point of distortion only when the absolute maximum =
force=20
is applied.  In this condition, the hammer shows the widest possible =
range of=20
expression. =20

I think we're on the same page here.

It is often said that no two Steinways sound alike, and I have come to=20
believe that no two techs work on them the same way!  Wonder it these =
are=20
connected.  =20

That, in fact (for better or for worse), was exactly my point.

David Love

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