This is a multi-part message in MIME format. ---------------------- multipart/alternative attachment Hi Isaac: The center of percussion should only come into play when the hammer = strikes the string. Ostensibly you would want the line of action where = the string strikes the hammer to pass through the hammer's center of = percussion. This would result in no force at the pivot due to impact. = If you don't strike at the center of percussion some small amount of = energy is lost to the pivot. Only a small portion of the kinetic energy = of the hammer is imparted to the string, the rest goes into deforming = the felt, the leftover kinetic energy when the hammer bounces back and = vibrational energy imparted to the wooden parts of the action, = particularly the hammer shank. The "touch" of the keys is really independent of this. There are two = independent parts. There is a static balance: this is what you feel if you partially = depress the key and stop...you will feel a force upward against your = finger. This is what the lead weights added to the key can adjust. The = more lead, the less static force against your finger. Then there is dynamic inertia: this is what you feel when you try to = *accelerate* the key downward. The quicker you accelerate the key, the = more reaction force you will feel back from the key. The dynamic force = is added to the static one to equal the total force you feel with your = finger. The dynamic force depends on how fast you depress the key; the = static force is there all the time and doesn't change. Think of it as if you are holding a 20 lb. dumbell in your hand. If you = just stand there it will pull down on your arm with a force of 20 = pounds. If, however, you jerk it suddenly upwards you will feel more = than 20 lbs. pulling downward, due to inertia. The dynamic behaviour of the action is changed by modifying the moment = of inertia of the rotating parts. This can also be changed by = moving/adding/removing leads, but the balance may be affected as a = result. Hope this helps! Don A. Gilmore Mechanical Engineer Kansas City ----- Original Message -----=20 From: Isaac sur Noos=20 To: Pianotech=20 Sent: Friday, January 16, 2004 6:23 PM Subject: RE: Cockeyed hammers / Don Gilmore HelloGetting back at that old post, I noticed that Yamaha hammers that = have more wood on the tails side than many, seem to be better balanced = and more stable in time, we also feel something while playing like if = the hammer where thrower more naturally than on other kind with thinner = keys. Is it the percussion point that is involved (I still did not get it = really) or does it have to do with the actual center of gravity of the = hammer/shank system ? Thanks in advance Isaac OLEG -----Message d'origine----- De : pianotech-bounces@ptg.org [mailto:pianotech-bounces@ptg.org]De = la part de Bernhard Stopper Envoy=E9 : vendredi 19 d=E9cembre 2003 01:02 =C0 : Pianotech Objet : Re: Cockeyed hammers / Don Gilmore Don/Sarah, To design a hammer so that its pivot coincides with the center of = percussion is THE way to get a free sound and the maximum of energy = transfer to the string. it also allows the hammer to reject the fastest = way possible because oscillations in the pivot produce friction and slow = down hammer movement at contact point.=20 i did several simulations with software called pro/mechanica and = reshaped hammers after results found. one could say that actual hammer = with heavy felts have their center of percussion much far away from the = pivot than lighter hammers have. putting a small lead in the tail of the = hammer can make them come closer to that point. center of hammer mass = should ly on a line along the center of the hammer shank and the center = of percussion is at distance x from pivot that can be calulated by the = formula x=3DI/(m*y) with I=3D moment of inertia, m=3Dmass, y=3Ddistance = to center of mass regards, Bernhard ----- Original Message -----=20 From: Don A. Gilmore=20 To: Pianotech=20 Sent: Friday, December 19, 2003 12:22 AM Subject: Re: Cockeyed hammers / Don Gilmore Well, I didn't mean to imply that the impulse at the pivot is all = absorbed; but it is all lost as far as the string is concerned. The center of percussion is one of those counter-intuitive = phenomena in dynamics. For the multitude of college students that only = take a semester or two of physics, the concept of forces on a free body = acting at the center of gravity is a paradigm that is hard to dislodge. = For an object in free space or translating in a straight line, which = comprises most situations, the center of gravity is always used. But = for an object pivoted at some location other than its c.g., all bets are = off. The most publicized version of this is a baseball bat's "sweet = spot" as you described. Think of a wooden board hung from a pivot point at its top. If = you strike the board up near the hinge, the pin will experience a force = coming from the direction of the strike. But if you strike the board at = the bottom, the pin will experience a force in the opposite direction as = the board tries to spin about its center. There is a point in between = these two where the pin force is neither positive nor negative and the = pin will actually see no force. This is the center of percussion and is = not located at the centroid of the board. It's not usually even = particularly close. It would seem to be a good idea to design the hammer so that the = string contact point of the head passes through the center of = percussion. That way the maximum amount of energy would be transmitted = to the string...like dropping a ball on it. But I'm not sure if they = actually design them that way. Don A. Gilmore Mechanical Engineer Kansas City ----- Original Message -----=20 ---------------------- multipart/alternative attachment An HTML attachment was scrubbed... URL: https://www.moypiano.com/ptg/pianotech.php/attachments/4f/66/f8/4a/attachment.htm ---------------------- multipart/alternative attachment--
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