Ronsen Bacon felt

[Erwinspiano at aol.com]

Ric
   Ahhh yes, the sticky wicket of defining what "a  beautiful tone" really is 
on the Internet. 
   However, just to be clearer, hopefully...  Anyway in my universe of tone, 
I wasn't suggesting sacrificing any  thing.  You heard my D in Ra-ch-ster in 
class.  (They all sounded dead  in the hall).
  I know what you are Saying, but the tone I'm describing  is probably closer 
to what you & David Andersen & others are referring  to when we 
say"Warm,clear tone."  
    There seems to be a cross over point in any  voicing situation where the 
sound is under or over the desired target level  of tonal clarity & power & at 
the point, we just about reach out  & touch it, but then pull back & 
re-evaluate, taking into  consideration play in time,(which is largely ignored in most 
tone building  protocols) acoustic environment & customer preference/yours.  
When  coming at it from the less dense hammer side of things, play in time has 
 enormous affect on building long term tonal benefits & has hugely  
overlooked. The packing affect in the strike zone  felt occurs  rather rapidly in as 
the hammer ,under some hours of tuning & vigorous  playing, provides further 
clarity, power & sustain. You of course know  this.  
   However because the historical pendulum of felt  production, voicing & 
hammer making techniques have swung so far to  accommodate the instant On 
(glassy) sounds of stiffer soundboard systems  ,the fact that rich resonant sound was 
produced with waaay softer  hammers in comparison to todays hot,harder 
pressed felts .....has been lost  & forgotten.
  I hope I can contribute to the resurgence in what  musicians know as "The 
beautiful sound"
  Kindest regards
  Dale

I guess  the point I'm trying to make is that the tendancy for many to 
opt for the  beautiful at the expense of power and brightness can cost 
you big  time.  I remember a story David A wrote a couple years back 
about a  piano he'd just voiced and a pianist coming in accusing him of  
<<killing the piano>>.

Its a hard call to be  sure.  The three voicing teachers I've had the 
fortune to spend time  with have all drilled in the same lesson.  Make it 
beautiful... but  make it powerful as well.  Clear as day, I know... 
:).... But the  discussion about hammer felts and voicing preferences 
does, clear as day,  illustrate the bredth of the problem in front of the  
voicer.

Cheers
RicB


 
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