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Hello All,
the energy of the hammer returned to the backcheck and the energy of the =
key to the keyframe become synchronous with the said 2 milimeters. If =
this two blows are synchronized, there is a higher pulse wave running =
through the instrument giving more additional energy to the string than =
when this two blows are time offset (and may cause phase losses when =
reaching the string).
As a second effect of this two blow synchronization at the 2 milimeters =
s that the player gets the impression when he reach the key bottom (what =
produces a reaction force on his finger) and the blow of the hammer =
backcheck (what produces also a reaction force on his finger) that he =
touches the string with his fingertips what gives him more inspiration =
while playing.
kind regards,
Bernhard Stopper
----- Original Message -----=20
From: antares=20
To: Pianotech=20
Sent: Monday, August 16, 2004 9:36 PM
Subject: back check, a magical mystery tour.
Hello List, Avery, Stephane and Richard,
I have written about this mystery issue before a long time ago. I =
personally have no explanation for it.
I just learned this from a very gifted Japanese teacher. he introduced =
me to "the one and only right position" of a back check versus hammer =
tail.
According to him (Tsuji-san), there should be a space of 2 mm after =
drop between hammer tail and back check.
Indeed that is true, and it is a mighty weapon.
Throughout the years, there have been many miracles described on this =
list to improve tone and action.
If we delve into all what has been said, we must come to the =
conclusion that, to achieve the very best in regard to the way an action =
performs and to get the ultimate outcome...the tone, our profession is =
extremely complex.
The mystery of the back check has not been solved yet. I have as of =
yet not heard an explanation that totally convinces me. Nor was =
Tsuji-san able to explain it to me.
A very powerful regulation is one thing, to make a fantastic tone =
another.
Among the weapons we are able to employ are :=20
1. Our experience, talent, knowledge and understanding first of all
2. The use of high quality materials like : the best felt and the best =
front punching (indeed heavily underestimated)
3. A thorough understanding of the use of anti-friction material, and =
what it really means
4. The ability to make a superb concert tuning
5. The ability to bring a voicing to a high standard.
As described above, the back check height belongs to this list. It is =
a very handy help in the voicing process.
We start this process with the usual list, like anti-friction =
treatment, regulation, tuning and voicing, but we can improve the final =
outcome with the help of this back check phenomenon.
To give you a clear example :
A long time ago I had to prepare a number of instruments for customers =
in the showroom of Yamaha in the Netherlands.
After a few rounds, one C5 grand was their favorite, but they =
explained to me that still something was missing.... it was just not =
powerful enough.
My piano instinct told me to do the one and last thing : I told them =
to have another cup of coffee (yes Huber Liverman!) and I also told them =
that I knew exactly what they meant.
This was partly true, but also bluff on my side, but under the =
circumstances, my professional life was on the block.
I got out my Japanese tool to change the height of the back checks and =
I started twisting and turning the back checks to the desired height.
On the way I broke one of the back checks but was so extremely lucky =
to be able to replace it immediately and without their seeing any of it =
(they were busy slurping their adrenalin).
After 10 minutes, I wiped the sweat from my brows and joined them for =
my round of the brown stuff, and I told them that I thought I had =
successfully solved their complaint.
They went back and played the C5, and bought it immediately!!
Thanks to the generous lesson of Tsuji-san.
Andr=E9 Oorebeek
On 16-aug-04, at 8:27, Richard Brekne wrote:
Hi Avery
In the case of the grand at the University, they were higher then =
what turned out to be best for the sound. I am not sure whether they can =
be too low in this regard. Andre is following the whole thread so I am =
sure he can answer better.
btw... I've heard the standard set both 2mm above and 2mm below the =
hammer tail at let-off through the years. Quite a few times both ways =
actually. It would be nice to hear what the consensus is here.
Cheers
RicB
Avery Todd wrote:
Ric,
Just curious. Is Andre referring to the backchecks being higher =
than normal
(2 mm below the hammer tail at let-off), or lower?
Avery
This brings me to another one of Andre's suggestions... that =
about the height of the backcheck having an impact on tone. Now this one =
is just plain weird sounding... I'll be the first to admit it... but =
there it was. When Andre was up here a couple years back he demonstrated =
it to 5 of us, and no one could avoid admiting that he'd changed the =
tone... the openess of the tone on the notes he'd adjusted. I asked the =
famous Japanese pianotechs Mr. Ono and Mr. Takahara about this too =
whilst I was in Japan this summer, and they both immediatly responded =
along the lines... "but of course-- didnt you know that ???"... tho to =
this day I have yet to find a satisfactory explaination for why the =
height of the backcheck can influence the openess of the tone of the =
piano.
_______________________________________________
pianotech list info: https://www.moypiano.com/resources/#archives
_______________________________________________
pianotech list info: https://www.moypiano.com/resources/#archives
friendly greetings=20
from
Andr=E9 Oorebeek
Amsterdam -
The Netherlands
www.concertpianoservice.nl
www.grandpiano.nl
"where music is, no harm can be"
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