<HTML>In a message dated 2/19/2002 7:15:28 PM Pacific Standard Time, kpiano@goldrush.com writes: <BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">Subj:Re: voiceing Date:2/19/2002 7:15:28 PM Pacific Standard Time From:<A HREF="mailto:kpiano@goldrush.com">kpiano@goldrush.com</A> Reply-to:<A HREF="mailto:pianotech@ptg.org">pianotech@ptg.org</A> To:<A HREF="mailto:pianotech@ptg.org">pianotech@ptg.org</A> Sent from the Internet >  Keith Roberts wrote Eric Schandall blamed Dale and Bob Davis for the terms Boom, Clang, and Sizzle. It's so very simple, even the customer understands immediately and nods her head. Worked for me today. To quote Eric; "...and I thank Dale Erwin and Bob Davis for their wonderful class on voicing" that introduced him to those terms.</BLOCKQUOTE> >>>...Awwww Shucks Keith I hate it when people told me I said something and I can't remember it.  Eric is too kind. A humble man. Really I think voicing on the commpter is probably as accurate as voicing on the phone but I know the U-3 pretty well. . Ok Dale, Bob, expound <BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">some on these terms and explain more about Woof. The Yamaha U3 I tuned today had a hollowness in the Woof from F#3 to D4. The hammers looked uniform so I'm thinking it's in the bridge. Lacking in Clang, no presence?</BLOCKQUOTE>   >>>> I asumne you mean boom?/woof. Doesn't matter. I read your other post and the fact the piano is not broken in leads to some tonal anemia in the area you describe. All three components of the tone are weak and if the hammers had a little string marking on them I think you'd find the sound a lot more developed.    When string marks have developed on the face of the hammer the tone is more solid and the clang boom and sizzle will be more present. Usually the boom/woof will be the weakest with that type of hammer and you have to do something to let the"big Dog out of the shed" as you say. Your string tensions are often lower in this range on an upright and the flexibility of the hammer needs to be increased so the too stiff hammer doesn/t distort the sound. Voicing thru the cut  side of the hammer will give it more spring and drive the fundamental frequency which is your boom/woof.    I would file these hammers with fine sandpaper first (220) to take off the fuzz  and clean up the face. Next put your finger on the string then pound on the key about 100 times to play in the note and then listen to the difference.      Hey Keith its not your fault the big dog is lock in the shed. She needs to play the piano and let the poor guy out! <BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">>>>>>>>>Dale Erwin>>>>>>>>>>> </BLOCKQUOTE> </HTML>