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<DIV><SPAN class=696073511-15082004>Dale,</SPAN></DIV>
<DIV><SPAN class=696073511-15082004></SPAN> </DIV>
<DIV><SPAN class=696073511-15082004>Yes indeed we forget to mention =
the
brightness occurring with time. Nowadays, What misses the most on those =
pianos
(to my ears) is the precision and density of the attack , due to the =
soft
punching, but also to the kind of hammers and voicing. then indeed a lot =
of
brilliance occur if not when new with time, but if the pianists as =
expecting a
more dense tone production it will not obtain it, only =
brilliance.</SPAN></DIV>
<DIV><SPAN class=696073511-15082004>I had some customers that =
like their
pianos for their mellowness and touch weight, but all appreciate the new =
front
punching I installed, even saying it was an error to have that too =
mellow
keyboard bottom.</SPAN></DIV>
<DIV><SPAN class=696073511-15082004></SPAN> </DIV>
<DIV><SPAN class=696073511-15082004>The precision of the front =
punching allow to
fine regulate better the exact moment of tone production in regard with =
the
bottoming of the key (hence "aftertouch") . It have then a large =
influence on
the tone and the feel of the action of course. </SPAN></DIV>
<DIV><SPAN class=696073511-15082004>A large aftertouch is =
considered a
producing a heavier touch and indeed because of the large margin it =
is ,
but the tone production moment is also a parameter to take in account. =
If we
examine the tone production moment, we see it is linked not only purely =
to
aftertouch, but also with the voicing, the speed of tone in the acoustic =
system
generally speaking, and of course the regulation (hammer travel, letoff, =
even
checking when it comes to repeated notes)</SPAN></DIV>
<DIV><SPAN class=696073511-15082004></SPAN> </DIV>
<DIV><SPAN class=696073511-15082004>So the first impression when =
reducing the
hammer travel is of an earlier tone production, that seem to lighten the =
"acoustic touch and feel" while taking off some density in the =
attack
tone, a little like soft punching does.</SPAN></DIV>
<DIV><SPAN class=696073511-15082004>A little more aftertouch makes the =
action
heavy also because there is then no participation of the key bottoming =
in tone
production.</SPAN></DIV>
<DIV><SPAN class=696073511-15082004></SPAN> </DIV>
<DIV><SPAN class=696073511-15082004>Kaway hammers and voicing =
conducted from
very low (was said "they bring up all the masses of the hammer") does =
not leave
a lot of foundation for fortissimo, and add a preeminence of medium =
frequencies
in the spectra, a little like the "loudness" button on an amplifier. The =
effect
is that most of the hammer density is in the high regions. To me it seem =
to
fasten the tone production stabilization, hence =
reducing what I call
the "elasticity of tone" may be because high frequencies seem to be =
exited
by lower ones more than the opposite (high frequencies first, then lower =
ones)
May be of course this is just a view of my imagination, or an effect due =
to the
change in the spectra equilibrium.</SPAN></DIV>
<DIV><SPAN class=696073511-15082004></SPAN> </DIV>
<DIV><SPAN class=696073511-15082004>Once this process have been used =
it takes
some time and playing to have a more brilliant spectra with enough =
density,
sometime it does not arise, because the felt in the heart of the =
hammer is
not under tension , the shock absorber acting on that part of the hammer =
under
heavy play, is impeaching the heart of the hammer to participate to the
rebound. But this voicing is part of the initial intention of the =
builder,
it is also the only solution we are left with in case of too soft =
hammers or
lack of "power" (if we want to stay away of the lacquer powerization, =
and keep
a complete dynamic range) . of course I can only speak for "modern
hammer".</SPAN></DIV>
<DIV><SPAN class=696073511-15082004></SPAN> </DIV>
<DIV><SPAN class=696073511-15082004>Coming back to that tone =
production process
and synchronization touch bottoming/tone production, that is a fairly =
new
concept to me but I may say it helped tremendously to have a finer =
control
during tone building (unison).</SPAN></DIV>
<DIV><SPAN class=696073511-15082004>That mean that one will tune =
unison
differently depending of the omunt of aftertouch of an instrument - This =
is
absolutely occurring for all of us but certainly to a non conscious
state.</SPAN></DIV>
<DIV><SPAN class=696073511-15082004></SPAN> </DIV>
<DIV><SPAN class=696073511-15082004>I analyze the ease of tuning =
obtained while
focusing on the key bottoming (and hence the hammer move and impacting =
the
strings) because using 2 senses vs.. one only (touch + ear vs. ear only) =
is
lightening a lot the effort asked to the ear that is so hard for our =
ears that
they close and protect themselves , impeaching us to really regulate the =
attack
of tone.</SPAN></DIV>
<DIV><SPAN class=696073511-15082004></SPAN> </DIV>
<DIV><SPAN class=696073511-15082004>Then more quietness, less =
tiredness, and a
way better controlled tone.</SPAN></DIV>
<DIV><SPAN class=696073511-15082004>Another benefit is that as we =
regulate the
perceived energy under the finger of the pianist, we provide him a =
sensation,
that is an important part of the pleasure one have when =
playing.</SPAN></DIV>
<DIV><SPAN class=696073511-15082004></SPAN> </DIV>
<DIV><SPAN class=696073511-15082004>I leave you on that post, and will =
be very
pleased to hear your comments.</SPAN></DIV>
<DIV><SPAN class=696073511-15082004></SPAN> </DIV>
<DIV><SPAN class=696073511-15082004>Best regards, and till next
time.</SPAN></DIV>
<DIV><SPAN class=696073511-15082004></SPAN> </DIV>
<DIV><SPAN class=696073511-15082004>Isaac OLEG</SPAN></DIV>
<DIV><SPAN class=696073511-15082004></SPAN> </DIV>
<DIV><SPAN class=696073511-15082004>The process is absolutely =
applicable when
tuning vertical pianos with very good results.</SPAN></DIV>
<DIV><SPAN class=696073511-15082004></SPAN> </DIV>
<DIV><SPAN class=696073511-15082004></SPAN> </DIV>
<DIV><SPAN class=696073511-15082004></SPAN> </DIV>
<DIV><SPAN class=696073511-15082004></SPAN> </DIV>
<DIV><SPAN class=696073511-15082004></SPAN> </DIV>
<DIV><SPAN class=696073511-15082004></SPAN> </DIV>
<DIV><SPAN class=696073511-15082004></SPAN> </DIV>
<DIV><SPAN class=696073511-15082004></SPAN> </DIV>
<DIV class=OutlookMessageHeader dir=ltr align=left><FONT
face=Tahoma>-----Message d'origine-----<BR><B>De :</B>
pianotech-bounces@ptg.org [mailto:pianotech-bounces@ptg.org]<B>De la =
part de</B>
Erwinspiano@aol.com<BR><B>Envoyé :</B> dimanche 15 août 2004
02:58<BR><B>À :</B> pianotech@ptg.org<BR><B>Objet :</B> Re: =
lacquering
hammers <BR><BR></FONT></DIV><FONT id=role_document face=Arial =
size=2>
<DIV>
<DIV>In<FONT size=3> a message dated 8/14/2004 11:45:21 AM Pacific =
Standard
Time, antares@euronet.nl writes:</FONT></DIV>
<DIV><FONT size=3></FONT> </DIV>
<DIV><FONT size=3> Ilex Andre & Isaac</FONT></DIV>
<DIV><FONT size=3> I agree with you Andre & would say that =
selling the
client on the tried & true idea of playing this piano in. You can =
give him
this post as well as the others as proof that you've been soliciting =
other
knowledgeable opinions, well at least Isaac's & Andre's, & that =
the
consensus is be patient & play it. I like your approach of filing, =
ironing,
fitting & power regulating as Isaac stated etc. Always good =
first steps
before lacquer. </FONT></DIV>
<DIV><FONT size=3> However if all that won't do it and the =
hammers really
are a bit soft then I'd still encourage play in but perhaps some really =
dilute
gloss nitro cellulose lacquer & acetone mixed thinly 8 or ten parts
acetone to one part lacquer. I'd experiment with a 4 to =
6 drops on the
crown of the soggiest sounding hammer. I view this as sort of =
a break in
fluid & allows the hammer to pack in sooner with playing. & if =
it sounds
really inappropriate then you can wash it down into the hammer with =
straight
acetone & get it away from the crown & return to where you were. =
You may
try just try straight acetone. Sometimes this alone brightens thing up a =
bit
without adding any hardening agents at all.</FONT></DIV>
<DIV><FONT size=3>Make sense?</FONT></DIV>
<DIV><FONT size=3> Regards Dale</FONT></DIV>
<BLOCKQUOTE
style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: blue 2px =
solid"><FONT
style="BACKGROUND-COLOR: transparent" face=Arial size=2>If you =
lacquer those
Kawai hammers, you ruin them for ever. Those are <BR>not American made =
hammers
but come from Hamamatsu Japan.<BR>It is the same with Yamaha
hammers.<BR><BR>If that customer wants a brighter sound, you achieve =
this with
<BR>anti-friction treatment to start with, followed by a power
regulation.<BR>Anti-friction takes care of 'stiff joints' and causes a =
much
more <BR>dynamic, a power regulation is the finale.<BR>If you do this =
right,
you will have done a good job without <BR>unnecessarily damaging
hammers.<BR><BR>The hammer are the crown jewels of the =
instrument.<BR>You know
what I'm saying?<BR><BR>friendly greetings<BR>from<BR>André
Oorebeek<BR><BR>Amsterdam -<BR>The
=
Netherlands<BR><BR>www.concertpianoservice.nl<BR>www.grandpiano.nl<BR><BR=
>"where
music is, no harm can be"</FONT></BLOCKQUOTE></DIV>
<DIV></DIV>
<DIV> </DIV></FONT></BODY></HTML>