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<DIV> <FONT size=3> Good post Joe</FONT></DIV>
<DIV><FONT size=3> I share much of your work logic when it come to h=
ammers
. I will concede that there are some very good hammers being made by
Renner for Andre & Co. that will do essentially what
Ronsen Wurzens do with out years of needling or the customary voicing
instability that charachterizes so many hard & usually never voiced prop=
erly
brands of hammers. There are many fine techs who prefer this style of =
tone
building & those that do it well ,I salute you.</FONT></DIV>
<DIV><FONT size=3> I have yet to personally encounter th=
is
type Euro Wurzen but under the right circumstance I would . Probably a conce=
rt
situation but for now I'm getting everything I ever wanted in the tone dept.=
with very little manual labor. I think I'm getting Lazy....... make that
spoiled</FONT></DIV>
<DIV><FONT size=3> As to playing in I'm not sure work hardening is th=
e
appropriate terminology to what is actually happening. I conside=
r
the crown packing phenomenon a very important tonal
component Further observations are that <STRONG>Medium
density</STRONG> hammers such as Ronsen , Isaac or perhaps =
Euro Wurzens & others , squash down & take a s=
et.
Compression set , if you will , & internal friction is somewh=
at
rearranged.</FONT></DIV>
<DIV><FONT size=3> I've seen some pretty goofy looking shapes of hamm=
ers
that sounded good in spite of it. Just my take</FONT></DIV>
<DIV><FONT size=3> Dale Erwin</FONT></DIV>
<BLOCKQUOTE
style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: blue 2px solid"><=
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=2>
<DIV><FONT face=Arial size=2> As I have been using hammers from R=
onsen
for over 30 years, I pretty much know what to expect. The last few notes i=
n
the treble were weak. I expected that. Ray presses the hammers as hard as =
he
can, in that area, w/o busting up/distorting the moulding. This is a GOOD
thing, as it allows the tech to bring the hammers up to an acceptable
brilliance, rather than other hammers that are too bright at the onset and=
get
absolutely crappy with a little playing. I hate voicing, i.e. sticking
needles, consequently, the less of that I can do and still achieve a good
overall tone, the better!!!</FONT></DIV>
<DIV><FONT face=Arial size=2>Now that the piano has been played, (heav=
ily), by
some of my pianistic friends,<G>, the tone is really coming into it'=
s
own. All of this w/o sticking needles into the felt and destroying the
interlock of the fiber(s)! To me that is what it's all about: With a good
scale, good board/bridge, good action and attention to detail. Needles are=
the
LAST thing I want to do or need, in most cases</FONT></DIV>
<DIV><FONT face=Arial size=2>But, I digress from the initial "hypothes=
is" of
"work hardening hammers". I believe the hammer MUST be played in, in order=
to
achieve it's maximum potential. How long this takes, depends on the hammer=
and
the piano AND it's amount of use. This "playing in" can be sped up with my=
"Pounder", but this alone will not do the whole job. If anyone were to ask=
me
what hammer I would recommend for the maximum tone production, for a given=
piano, I would say only one word: WURZEN! The cost is so very much the sam=
e,
from one set to the other, that there is no contest....Buy the
best!</FONT></DIV>
<DIV><FONT face=Arial size=2>Joe Garrett, R.P.T.<BR>Captain, Tool
Police<BR>Squares R I</FONT></DIV></FONT></BLOCKQUOTE></DIV>
<DIV></DIV>
<DIV> </DIV>
<DIV> </DIV>
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