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<DIV><FONT size=3> Hi Mark</FONT></DIV>
<DIV><FONT size=3> Remember that giant sucking sound Ross Perot made
famous?</FONT></DIV>
<DIV><FONT size=3> I think the hall can do this...just suck the sound away
from the player. IE. Rochester gallery.</FONT></DIV>
<DIV><FONT size=3> I rebuilt a Stwy D for the Modesto symphony
years ago & the sound at the piano is very satisfying. Big powerful
clear. As per RIc's description. & it projects sound even more
glorious in the funky hall. Go figure. BTW It has 12 year old Isaac
hammers with old American co.Stwy felt juiced up but the needles still go in
easily. SO cool</FONT></DIV>
<DIV><FONT size=3> I have also experienced your dilemma. I think you
should go with your own advice about judicious shaping;. The Abel
hammer as far as I know uses Abel felt which is quite dense.The spot on
the hammer which, I believe will give more feed back at the bench without
changing the hall experience is the little half moon spot under the strike
point. Use finer and finer paper filing over the top ending with as fine
as 1000 grit. & or lightly iron the felt. Too much & a nasty
sound appears.</FONT></DIV>
<DIV><FONT size=3> Let us know how it comes out. Curiosity demands
an answer</FONT></DIV>
<DIV><FONT size=3> Dale</FONT></DIV>
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<DIV><STRONG>David, et al -</STRONG></DIV>
<DIV><STRONG></STRONG> </DIV>
<DIV><STRONG>Makes perfect sense to me!</STRONG></DIV>
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<DIV><STRONG>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, <EM>when you
are in the audience</EM> ! 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. </STRONG></DIV>
<DIV><STRONG></STRONG> </DIV>
<DIV><STRONG>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.</STRONG></DIV>
<DIV><STRONG></STRONG> </DIV>
<DIV><STRONG>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...</STRONG></DIV>
<DIV><STRONG></STRONG> </DIV>
<DIV><STRONG>Mark Potter</STRONG></DIV></FONT></BLOCKQUOTE></DIV>
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