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Bernhard hello,
Can't be that these blows are not exactly synchronized ((what happens not at
all level of play I guess anyway) but key bottom stroke prorogated by
backchecks stroke inducing a energy wave toward the bridge and hence adding
to the string energy) ?
High speed analysis should certainly be interesting for that matter, but a
simple time spectra analysis can yet show us things. The device used for the
test blows at the PTG seem a good one for that kind of test.
I am persuaded also that the stiffness of the wire being stiffer with a
lower backchecks the checking stroke is firmer.
The impression to have the fingers touch the strings (via the hammer I
guess) is what I focus on while tuning , one of the reasons why I tune
differently depending of the amount of aftertouch (unconsciously very
probably).
This impression exist as well with a less synchronized checking, but indeed
any tip that reinforces it is a very good one.
Thanks for your participation !
Best Regards.
-----Message d'origine-----
De : pianotech-bounces@ptg.org [mailto:pianotech-bounces@ptg.org]De la part
de Bernhard Stopper
Envoyé : mardi 17 août 2004 09:50
À : Pianotech
Objet : Re: back check, a magical mystery tour.
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 -----
From: antares
To: Pianotech
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 :
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.
André 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
from
André Oorebeek
Amsterdam -
The Netherlands
www.concertpianoservice.nl
www.grandpiano.nl
"where music is, no harm can be"
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