---------------------- multipart/alternative attachment On 18-feb-05, at 21:53, David Love wrote: > There's hard and then there's firm but resilient. The Abel Select = was > a bit too firm but could be voiced down to accommodate and had enough > resilience to work. As I said, I don't know whether it was the = perfect > hammer. I was able to get it to work. Next one I will try a Bacon=20 > felt > Ronsen (which I actually didn't try). I have learned that discussions about hammers on this list, and in=20 general, are very interesting, but that in the end, each technician has=20= his/her own motives and preferences for choosing this or that hammer. The choice of hammer often depends first of all on hearing development=20= and background, secondly on the method or technique he/she has=20 acquired, and thirdly, 'possibly' under the influence of the technical=20= and commercial environment he or she moves in. At the same time we find several developments and schools in regard to=20= voicing and.... a multitude of tastes. Lastly, the end result always depends on the perception of the=20 technician of what voicing is, and on his or her technical training=20 background. I personally have developed a definite musical taste, based on the=20 choice for a certain kind of felt, and on a hammer made by a certain=20 hammer maker. Because voicing has become a daily routine for me, I also have=20 developed my own insight and my own technique. Based on that insight and technique, I think that it would not matter=20 to me what kind of soundboard an instrument has, but more what kind of=20= hammer I find in that instrument. The kind of soundboard defines character, power or weakness, and=20 personality of the instrument. The voicing technician adapts to whatever instrumental subject he/she=20 is confronted with, and the outcome depends on technical skill, the=20 quality of the felt, and the experience of the hammer maker. A great instrument with a lousy hammer will always be at a=20 disadvantage, no matter how fantastic a voicing tech is. A lesser instrument may gain very very much with a hammer change of the=20= right choice, and a tech who knows about the making of tone. So, in my opinion, it all boils down to 1. the quality of the=20 instrument (read soundboard) 2. the quality of the hammers 3. and -=20 especially -the experience and skills of the technician. friendly greetings from Andr=E9 Oorebeek www.concertpianoservice.nl "Where music is no harm can be" ---------------------- multipart/alternative attachment A non-text attachment was scrubbed... Name: not available Type: text/enriched Size: 2427 bytes Desc: not available Url : https://www.moypiano.com/ptg/pianotech.php/attachments/5c/d1/ce/3e/attachment.bin ---------------------- multipart/alternative attachment--
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