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<DIV> High Ed</DIV>
<DIV> Goo post.</DIV>
<DIV> As to your quote below. It makes sense to me that if I am
improving the sustain qualities of the killer region ,which, I always am when
executing the strike line change, then it stands to reason that the fundamental
frequencies are getting stronger & thereby projecting a fatter sound
into the hall. </DIV>
<DIV> I have experienced this phenomenon in the Symphony piano
(Steinway D) here before and after the hammers were first hung & voiced
& then re hung. The principal pianist/others at the college had long
complained about the weak spot & were very impressed at the improvements
after the tweaking. </DIV>
<DIV> Also I as the attending Concert tech I had a
valuable opportunity to hear the A --B comparisons as did folks familiar with
the instrument. Yes farther out from the stage. The piano also had a
wonderful presence to the player as well. Sometimes it's the hall
& sometimes it's the piano. Know what I mean?</DIV>
<DIV> Dale</DIV>
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What I am wondering is if shortening the strike point is sacrificing
some <BR>of the lower spectrum in the killer octave notes and lending emphasis
to the <BR>higher partials, thus making it seem as though the piano has more
power to the <BR>pianist, (or technician). <U>Has anybody compared a
"bent-line" piano with a <BR>straight-line piano in the venue</U>, <U>from
farther out from the stage? <BR></U><BR>Regards,<BR><BR>Ed Foote RPT
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<DIV></DIV>
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