---------------------- multipart/alternative attachment On dinsdag, jun 3, 2003, at 01:46 Europe/Amsterdam, Isaac OLEG wrote: > Hello Andre, Hallo mon ami, > =A0 > Very interesting post indeed, and are actual C3 C7 hammers using=20 > Wurzen or not ? No, they have a different felt. I am not sure what it is but I think=20 'Royal George' felt. > =A0 > Talking about the maintenance of the efficiency of the Yamaha hammers,=20= > a common process here is to consider that the back of the hammer=20 > harden very little, as it is considered as the springy part of the=20 > hammer. On the contrary, the front top zone (from 10 to 11:30) harden=20= > much because it is more solicited while playing, and it is responsible=20= > for most of the attack noise. > =A0 > Then taking back to original the volume and brilliance of an hardened=20= > Yamaha hammer would be needling=A0almost only =A0the front to unpack = that=20 > hard zone, and also thumping hard on the 9:00 Zone , always front, to=20= > open the tone. One of the things I have learned in ze factory is to give the back a=20 little more needling than the front because of the flex of ze shank. When hammers have hardened considerably because of a lot of banging, we=20= only needle near the crown anyway as a cushion is a cushion and we=20 don't want to sleep with our heads on 'ze ground'. > > I have seen a Fazioli intoner working with the same idea , one side=20 > for energy one side for power, equilibrium of the moments between the=20= > 2 sides to obtain the=A0"phasing". Battery needling on the back = only=A0to=20 > obtain a more fast rebound=A0. Well, whatever you say, but I believe in symmetry. Aside from that=20 Isaac, there is the 'touch'...from the way a hammer feels you should be=20= able to deduct what the cure should be. > =A0 > Is =A0not the imbalance induced by this=A0method =A0limiting the tonal=20= > range,=A0 you said that you believe that the 2 sides of the hammer may=20= > absorb the shock, but the front still act differently than the back is=20= > not it ? . That's what I said...but the idea was to reserve the frontal energy by=20= not giving it the same amount of needling. > =A0 > Is it what you mean when you say that you believe in symmetry ? or did=20= > you mean only the shape of the head.? The shape of the head is most important in the very first place but the=20= amount of needling should be close to the same except for the reason of=20= hammer shank flex. > =A0 > The method I described there is giving a definite change in tone when=20= > attaining certain level of velocity, on the other hand, I feel that=20 > the possibilities offered are still a little binary, opposed to a full=20= > blooming hammer with springiness on the 2 sides (in a simplified view=20= > of the process). You know.....this is what it comes down to : many teachers have said to=20= me " Andr=E9, in the end, nobody can tell you what to do..you have to=20 find out for yourself what is best by experimenting ........trial and=20 error". Those kind of answers always irritated the hell out of me because I=20 wanted a clear cut answer. For that reason I went to the max in finding out 'my' ultimate truth=20 about voicing. I spent countless hours in those industrial complexes,=20 spending night after lonely night with just myself. It was no fun but it was an education in itself. during my third time=20 in Japan I went through a barrier, a sound barrier so to speak, because=20= at that moment it all became clear. I had spent so many hours and days=20= and months without really understanding and there, in that lonely place=20= where nobody spoke a bloody word of decent 'Inkrish' I found my way out=20= of the maze and I went home a happy boy. Then I started telling others about what I had understood and I=20 developed methods to make it simple and clear to them, and I found out=20= that by keeping it as simple and clear as possible, others could grasp=20= it in one weekend where it had cost me - years - of hard labour. This afternoon I did 'first voicing' on a rather difficult STW B and I=20= thought about that....and I thought " how should I describe to others=20 this very complicated process of creating harmony and smooth power in a=20= set of new hammers, so that this STW again becomes a real nice=20 instrument, so that the customer will clap in his hands and be very=20 happy with it? It can be only be done by cutting all the crap to a very=20= basic and simple form : a peace of felt, three needles and two ears.=20 The method I have in my head : it can be told and shown within one=20 weekend. The final experience comes with years of doing the same thing=20= over and over until you fall aside. Antares, The Netherlands see my website at : www.concertpianoservice.nl ---------------------- multipart/alternative attachment A non-text attachment was scrubbed... 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