your punching comments

[Lesher, Trent J.]

Hi Andre and others who have Andre's new punchings,

Someone brought up the issue of the effect of action feel on perceived sound.  I myself have noticed this -- for example restoring aftertouch can make the tone seem more supple to the player.  So I am wondering whether anyone has any stories of the differences in tone being heard somewhat reliably by a listener while the player changes punchings (without listener knowing which punching is being used, or when it is changed between notes).  Even better if the player doesn't know either.

Andre, I received your samples just the other day.  I'll report when I've tried them -- I guess I can do the experiment I just described!

Best regards,

Trent

 
-----Original Message-----
From: antares [mailto:antares@euronet.nl]
Sent: Wednesday, February 02, 2005 4:14 PM
To: Pianotech
Subject: Re: your punching comments





On 2-feb-05, at 10:02, Don wrote: 


Hi André, 


If the difference is 5 to 10% it should be large enough to be easily 
measured with a real time analyser. There are shareware versions of such 
programs. You would have to manufacture a "key playing device" to remove 
the "human" from the equation, or use something like a Yamaha disclavier. 


Have you noted the same improvement on upright pianos? Or is this limited 
to just grand pianos? 



Actually Don, I'll leave the scientific stuff to scientists. 
The final result is what counts for me. 


Today, for instance, I worked on this Blüthner grand. 
The notes sounded thin, feeble, and a bit sharp here and there. 
I started doing some regulation, but underway decided to first replace the punching. 
Of course I was curious about the result and listened to every note again while replacing the punching one by one. 
I was amazed with the result on this particular instrument! All noted were suddenly more thick and clear, like they had gotten more body. The result was so dramatic that both the pianist and I shared a very fantastic moment. 


The whole thing inspired me so very much that I put more than usual energy in the tuning. 
After that, voicing was hardly necessary. 
It had become an old jewel and it made my day. 



The same thing happens in uprights. 
Making aftertouch in an upright is a forgotten chapter for most techs. 
Getting deeper into this here on this list may be a very nice issue because hardly anybody writes about that. 
Especially in relation to this new and inspiring felt punching. 



EAR 




friendly greetings 
from 
ANDRÉ OOREBEEK 


Where 'music' is no harm can be 
www.concertpianoservice.nl 


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