<html> <head> <META HTTP-EQUIV="Content-Type" CONTENT="text/html; charset=us-ascii"> <meta name=Generator content="Microsoft Word 10 (filtered)"> <style>  </style> </head> <body lang=EN-US link=blue vlink=purple> <div class=Section1> Mark/David/Dale:   The quandary of how the piano sounds at the bench versus in the audience is not uncommon.  Concert instruments in largish halls often don’t sound that good from the bench because they must be set up in order to project to the back row of the auditorium.  Inexperienced pianists sometimes don’t know how to deal with this.  The answer, therefore, depends on the primary purpose for the piano.  In this case, I would leave well enough alone.  In the church the primary audience are those out in the church, not the pianist, and the voice of the piano should be set up with them in mind.  Pianists who might find the voice too edgy should be addressed by reminding them who the piano was set up for.  Were the piano in your living room where you the player are the primary audience, I would have considered a different hammer, different voicing outcome or both.   In response to David A’s question, the Ronsen Bacon hammer will not likely produce the “pop” you are seeking—at least not on the pianos you are working with.  On a soundboard designed with a very light string and rib scale you could get that kind of pop out this hammer.  On a more traditional style SB assembly you won’t, at least not without some juicing which somewhat defeats the purpose of using that hammer to begin with.   As someone who targets a warmer, somewhat darker sound as my default setting, the hammer generally is a good choice for my needs.  The somewhat firmer Ronsen Wurzen accomplishes what I want with slightly heavier assemblies, scale tensions or when I need a bit more projection.  Occasionally, a firmer hammer than that might be called for on a heavy assembly with a high tension scale (such as a concert instrument) or in a large hall where the attack needs to be even sharper.  In those cases I’m inclined to choose the Abel Select or Renner depending on the piano.  I don’t believe in a one hammer fits all approach.  I prefer to choose the hammer which most closely achieves my target with the least amount of manipulation.  That is not going to be the same hammer for every application.  The dictates of the venue which outline the tonal target combined with the particulars of each soundboard and string scale will determine selection.    <div> David Love davidlovepianos@comcast.net www.davidlovepianos.com </div> -----Original Message----- From: pianotech-bounces@ptg.org [mailto:pianotech-bounces@ptg.org] On Behalf Of Mark Potter Sent: Thursday, February 01, 2007 1:15 PM To: Pianotech List Subject: Re: Ronsen Bacon felt   <div> David Andersen <david@davidandersenpianos.com> wrote: </div> <div> My only question with "soft" hammers is that my artist clients seem to need a certain kinesthetic "pop" when the note is struck to feel comfortable that the piano is projecting properly, and sometimes mellow, dark, more fundamental-sounding pianos, pianos set up and voiced in a "softer" mode, do not give that "pop" that makes the player feel good. </div> <div> Does that make any sense? </div> <div>   </div> <div> David, et al - </div> <div>   </div> <div> Makes perfect sense to me! </div> <div>   </div> <div> This is an interesting, timely subject.  Three months ago I delivered a 1920's Mason & Hamlin BB to a rather large church on which I had installed, among other extensive work (including restringing), Abel Concert grand hammers.  I have to say that this piano projects better than any piano I have encountered in 30 years, with a very robust, lush, round tone.  It's just magnificent, when you are in the audience !  However, I had the occasion to perform on this piano this past weekend for a music showcase, and I must admit that from the player's standpoint, the piano lacks the presence that it projects to the audience.  Although I have not received any complaints from the 3-4 regular players there (and 2 of them are quite accomplished) it was very noticeable to me, and one of the other performers that evening mentioned it too.  </div> <div>   </div> <div> This is not a hammer I consider overly soft, by any means, but that is the perception AS THE PLAYER.  I welcome any input as to how to remedy this quandry, as I am hesitant to make any significant voicing changes to a hammer that sounds so wondrous to the listener that is more than 15 feet away. </div> <div>   </div> <div> Any ideas?  My first impulse is to do some more judicious shaping & fine sanding, as these hammers are rather generous in the amount of felt they offer.  Still, it would be a crime to alter this singing tone to any significant degree... </div> <div>   </div> <div> Mark Potter </div> </div> </body> </html>