This is a multi-part message in MIME format. ---------------------- multipart/alternative attachment Dale, Yes indeed we forget to mention the brightness occurring with time. Nowadays, What misses the most on those pianos (to my ears) is the precision and density of the attack , due to the soft punching, but also to the kind of hammers and voicing. then indeed a lot of brilliance occur if not when new with time, but if the pianists as expecting a more dense tone production it will not obtain it, only brilliance. I had some customers that like their pianos for their mellowness and touch weight, but all appreciate the new front punching I installed, even saying it was an error to have that too mellow keyboard bottom. The precision of the front punching allow to fine regulate better the exact moment of tone production in regard with the bottoming of the key (hence "aftertouch") . It have then a large influence on the tone and the feel of the action of course. A large aftertouch is considered a producing a heavier touch and indeed because of the large margin it is , but the tone production moment is also a parameter to take in account. If we examine the tone production moment, we see it is linked not only purely to aftertouch, but also with the voicing, the speed of tone in the acoustic system generally speaking, and of course the regulation (hammer travel, letoff, even checking when it comes to repeated notes) So the first impression when reducing the hammer travel is of an earlier tone production, that seem to lighten the "acoustic touch and feel" while taking off some density in the attack tone, a little like soft punching does. A little more aftertouch makes the action heavy also because there is then no participation of the key bottoming in tone production. Kaway hammers and voicing conducted from very low (was said "they bring up all the masses of the hammer") does not leave a lot of foundation for fortissimo, and add a preeminence of medium frequencies in the spectra, a little like the "loudness" button on an amplifier. The effect is that most of the hammer density is in the high regions. To me it seem to fasten the tone production stabilization, hence reducing what I call the "elasticity of tone" may be because high frequencies seem to be exited by lower ones more than the opposite (high frequencies first, then lower ones) May be of course this is just a view of my imagination, or an effect due to the change in the spectra equilibrium. Once this process have been used it takes some time and playing to have a more brilliant spectra with enough density, sometime it does not arise, because the felt in the heart of the hammer is not under tension , the shock absorber acting on that part of the hammer under heavy play, is impeaching the heart of the hammer to participate to the rebound. But this voicing is part of the initial intention of the builder, it is also the only solution we are left with in case of too soft hammers or lack of "power" (if we want to stay away of the lacquer powerization, and keep a complete dynamic range) . of course I can only speak for "modern hammer". Coming back to that tone production process and synchronization touch bottoming/tone production, that is a fairly new concept to me but I may say it helped tremendously to have a finer control during tone building (unison). That mean that one will tune unison differently depending of the omunt of aftertouch of an instrument - This is absolutely occurring for all of us but certainly to a non conscious state. I analyze the ease of tuning obtained while focusing on the key bottoming (and hence the hammer move and impacting the strings) because using 2 senses vs.. one only (touch + ear vs. ear only) is lightening a lot the effort asked to the ear that is so hard for our ears that they close and protect themselves , impeaching us to really regulate the attack of tone. Then more quietness, less tiredness, and a way better controlled tone. Another benefit is that as we regulate the perceived energy under the finger of the pianist, we provide him a sensation, that is an important part of the pleasure one have when playing. I leave you on that post, and will be very pleased to hear your comments. Best regards, and till next time. Isaac OLEG The process is absolutely applicable when tuning vertical pianos with very good results. -----Message d'origine----- De : pianotech-bounces@ptg.org [mailto:pianotech-bounces@ptg.org]De la part de Erwinspiano@aol.com Envoyé : dimanche 15 août 2004 02:58 À : pianotech@ptg.org Objet : Re: lacquering hammers In a message dated 8/14/2004 11:45:21 AM Pacific Standard Time, antares@euronet.nl writes: Ilex Andre & Isaac I agree with you Andre & would say that selling the client on the tried & true idea of playing this piano in. You can give him this post as well as the others as proof that you've been soliciting other knowledgeable opinions, well at least Isaac's & Andre's, & that the consensus is be patient & play it. I like your approach of filing, ironing, fitting & power regulating as Isaac stated etc. Always good first steps before lacquer. However if all that won't do it and the hammers really are a bit soft then I'd still encourage play in but perhaps some really dilute gloss nitro cellulose lacquer & acetone mixed thinly 8 or ten parts acetone to one part lacquer. I'd experiment with a 4 to 6 drops on the crown of the soggiest sounding hammer. I view this as sort of a break in fluid & allows the hammer to pack in sooner with playing. & if it sounds really inappropriate then you can wash it down into the hammer with straight acetone & get it away from the crown & return to where you were. You may try just try straight acetone. Sometimes this alone brightens thing up a bit without adding any hardening agents at all. Make sense? Regards Dale If you lacquer those Kawai hammers, you ruin them for ever. Those are not American made hammers but come from Hamamatsu Japan. It is the same with Yamaha hammers. If that customer wants a brighter sound, you achieve this with anti-friction treatment to start with, followed by a power regulation. Anti-friction takes care of 'stiff joints' and causes a much more dynamic, a power regulation is the finale. If you do this right, you will have done a good job without unnecessarily damaging hammers. The hammer are the crown jewels of the instrument. You know what I'm saying? friendly greetings from André Oorebeek Amsterdam - The Netherlands www.concertpianoservice.nl www.grandpiano.nl "where music is, no harm can be" ---------------------- multipart/alternative attachment An HTML attachment was scrubbed... URL: https://www.moypiano.com/ptg/pianotech.php/attachments/61/d2/58/64/attachment.htm ---------------------- multipart/alternative attachment--
This PTG archive page provided courtesy of Moy Piano Service, LLC