---------------------- multipart/alternative attachment Hi guys Some good reading and thinking you've already provided me with, I will read through a couple times before bouncing any thoughts back.. but Mike asked a couple questions so I thought I'd clarify a bit. Michael Spalding wrote: > Ric, > > That's a very open-ended and broadly undefined question. I suspect you'll > get lot's of answers to questions you didn't think you were asking. Well Mike.. I am kind of an open-ended and broadly undefined kinda guy ... :) Be that as it may... I was intentionally broad with this as I wanted exactly the kind of directionally divisiveness as I could get... I'm fishing for ideas that may help my own gel a bit better. > Clarifying questions: Are you talking about good heaviness or bad > heaviness? (pianists need to feel a certain amount of weight in order to > have control). Both... but as long as you mention <<good>> and <<bad>> heaviness.... would you mind going a little more into specific detail as to what configurations constitute the difference between the two ? > What about friction? Are you assuming "optimal" friction? > How much is that? > Actually,,, and this applies just as much to the voicing issue Ed brought up... I'd like to just concentrate on the effect of key inertia vs top action / hammer inertia plays. So I suppose that means imposing a kind of neutral status for both friction and the hammers hardness or softness. Thanks so far... RicB -- Richard Brekne RPT, N.P.T.F. UiB, Bergen, Norway mailto:rbrekne@broadpark.no http://home.broadpark.no/~rbrekne/ricmain.html http://www.hf.uib.no/grieg/personer/cv_RB.html ---------------------- multipart/alternative attachment An HTML attachment was scrubbed... URL: https://www.moypiano.com/ptg/pianotech.php/attachments/1c/af/00/4e/attachment.htm ---------------------- multipart/alternative attachment--
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