Even balance weight or even something else, that'sthequestion.

[Richard Brekne]

Bill Ballard wrote:.

> If you buy David's assertion that  FW is a good measurement (albeit static) of
> inertia
> (and I do), we're now at the point where all three can be set to
> specs, and two out of three can be reset on the fly. Fifteen years
> ago, we didn't have that. Now we do. It's a brave new world.
>

I think this is perhaps one of the most central points so far. It goes directly
to the question of just how much attention to detail we need to pay relative to
the key inertia question. Certainly it is in order to establish at what point
variation in key inertia given even FW's become significant, and certainly it is
appropriate to more clearly establish normal limits for inertia highs and lows.
But I believe in the end, that the FW specification coupled with key leading
done as David suggests will be very much up to the task. Tho, again I remain
open to someone showing clearly why a greater degree of resolution is
desireable.


>
> But just to keep things sober and in perspective, all of this
> pertains to the mechanical aspect of the action's "feel". It doesn't
> directly accomplish anything for the sound of the piano, which is
> where the art and the gift in our business lies.

Hmm.... I dont know if I aggree here at all. But thats another discussion me
thinks and one weve touched on lightly before. I am of the believe that touch
and voice are inextricably connected, and this includes at least to some
significant degree mechanically.  Which of course would explain nicely why
pianists so easily << confuse >> the issue. :) Certainly tho, the "transparency"
of the action (or lack there of) figures into the whole picture as you suggest
below.


> Confusing the issue
> here is that fact that when pianists report that an action feels
> good, they mean that getting the sound they want out of the piano is
> easy. They don't have to hunt for the sound they don't have to
> struggle to draw it out. The set-up of the action may contribute to
> the sound mainly in the absence of work done wrong, but for the most
> part the sound comes from the condition of the hammers and the belly.
> That's another ballpark entirely.
>
> Bill Ballard RPT
> NH Chapter, P.T.G.
>
> "Talking about music is like dancing about architecture"
>      ...........Steve Martin
> +++++++++++++++++++++
>
> _______________________________________________
> pianotech list info: https://www.moypiano.com/resources/#archives

--
Richard Brekne
RPT, N.P.T.F.
UiB, Bergen, Norway
mailto:rbrekne@broadpark.no
http://home.broadpark.no/~rbrekne/ricmain.html