<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN"> <HTML><HEAD> <META http-equiv=Content-Type content="text/html; charset=US-ASCII"> <META content="MSHTML 6.00.2800.1106" name=GENERATOR></HEAD> <BODY id=role_body style="FONT-SIZE: 12pt; COLOR: #000000; FONT-FAMILY: = Verdana" bottomMargin=7 leftMargin=7 topMargin=7 rightMargin=7><FONT id=rol= e_document face=Verdana color=#000000 size=3> <DIV> <DIV>Andre,</DIV> <DIV> </DIV> <DIV>I've read the article, and I have the samples of the punchings you sent= me.  I'd like to buy a couple of sets.   What I'd like to do = is install them in my piano and play them over a long period of time--if I ever= get the time to play my own danged pianner!</DIV> <DIV> </DIV> <DIV>Lemme know who's selling them here!</DIV> <DIV> </DIV> <DIV>Dave Stahl</DIV> <DIV> </DIV> <DIV>In a message dated 4/1/05 9:24:54 AM Pacific Standard Time, antares@euronet.nl writes:</DIV> <BLOCKQUOTE style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: blue 2px solid"><= FONT style="BACKGROUND-COLOR: transparent" face=Arial color=#000000 size= =2><BR>On 1-apr-05, at 10:15, David Nereson wrote:<BR><BR>>   What puzz= les me a bit about this article is that it is argued that <BR>> the taper somehow makes the punching firmer because it reduces the <BR>> mass of = the punching at the top where the key hits it.  But the <BR>> diameter= is wider than the green punching pictured next to it, which, <BR>> I would= think, would cancel out any reduction in mass.  I don't doubt <BR>&gt= ; that the punchings are better, but it's hard to believe the taper <BR>>= helps any if they're wider than the plain ol' green ones.  I imagine <BR>> it's just the more firmly-packed felt (denser), as mentioned earl= ier <BR>> in the article, that makes the key hit bottom with a more positiv= e <BR>> (less squishy) stop.<BR>>    --David Nereson, RPT<BR><BR><BR><BR>As I said before ( and also in my article) : I learned about this <BR>tapered version at the Yamaha Academy.<BR>My instructor the= re, at the time, showed me the difference between the <BR>smaller side of the punching up, and the smaller side of the punching <BR>down.<BR>It did clea= rly make a difference in sound.<BR><BR>One thing I have learned about this new= Wurzen punching, is, that if an <BR>instrument has not been regulated the right way, or when an instrument <BR>has very loud hammers, you will not h= ear any difference.<BR>You will hear a difference though when the instrument h= as been <BR>regulated the right way, and when the hammers have a more or less= <BR>'normal' voicing, i.e. not really too loud, and not really too soft.<BR>There is of course a wide scale between very soft and very loud, = but <BR>then.....  those two are extremes.<BR><BR>The influence of the ne= w tapered Wurzen punching is subtle, and can <BR>only be heard on an instrum= ent which has been regulated and voiced <BR>according to 'normal' professional= standards.<BR>The feel/touch of the new punching on the other hand, is an other case <BR>: 'any' regulation becomes more clear and more defined when= you install <BR>these punchings. How can it not be the case?<BR>It is a more d= ense material with a very satisfying elasticity which <BR>Vladan Temer describe= d so clearly before when he tested several kinds <BR>of punchings.<BR>That mean= s that a key dip of 10 mm is a key dip of 10 mm.<BR>No more, and no less.<BR>That in itself makes all the difference.<BR></FONT></BLOCKQUOTE><= /DIV> <DIV></DIV> <DIV> </DIV></FONT></BODY></HTML>