SW heresy?

[Sarah Fox]

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Hi Ray,

Thanks for explaining!  Yes, it all makes sense.  No diagrams necessary. =
 Apparently Steinway strives for linearity in hammer weight for whatever =
reasons.  Considering that what I have is a D clone, more or less, I =
should probably strive to preserve the linearity of the D-styled =
hammers.

Thinking about this entire issue, I wonder whether the "ideal" action =
would have massively heavy, slow-moving hammers in the bass, with a =
very, very low SWR, and rapidly moving, fly-weight hammers in the =
treble, with an extroardinarily high SWR.  Varying the SWR radically =
throughout the range (e.g. through graduated capstan placement) would =
make it possible to broaden the range of strike weights to correspond =
more meaningfully to string mass.  The ideal match between hammer and =
string would result in much higher efficiency from the system.  The bass =
would be much "deeper" and richer -- less loaded with overtones, and the =
treble would probably have more of a ringing quality.  Of course if this =
were done, it might not sound like a "piano" anymore.

Peace,
Sarah




  ----- Original Message -----=20
  From: Ray Negron=20
  To: Pianotech=20
  Sent: Sunday, August 22, 2004 9:54 PM
  Subject: RE: SW heresy?


  Hi Sarah,

  With most hammers, you can sight a strait line along all surfaces. =
Some grands, most notably Steinways, have(or had- not sure if they still =
do it) a taper that is not strait. The sheet of felt is manufactured to =
produce this taper. Simply put, there are three tapers in the sheet, =
bass, tenor, and treble. I am not computer literate enough to draw it.=20

  Ray Negron
    -----Original Message-----
    From: pianotech-bounces@ptg.org [mailto:pianotech-bounces@ptg.org]On =
Behalf Of Sarah Fox
    Sent: Sunday, August 22, 2004 11:13 AM
    To: Pianotech
    Subject: Re: SW heresy?

    .

    I guess I'm thinking more of the linear proportions in the =
dimensions of the heads.  If I'm not mistaken, you could take a slab of =
uncut hammers and sight a straight line along all surfaces.  Correct?  =
(Ray??)  Interestingly, the entire keyframe is laid out in straight =
lines as well, with longer dimensions in the bass and shorter in the =
treble.  Ray explains that the felt in the bass hammers is less dense =
than in the treble, so that would explain the basic form of the SW =
curve.  With linear dimensions all around, and with progressively =
decreasing felt density, combined with increasing proportions of felt =
with the larger/lower hammers, there would actually be a fall-off in the =
bass end SW.

    Peace,
    Sarah

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