<HTML>Keith Roberts writes: <BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT= : 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">Bob Davis should speak about th= at. In his voicing class, he is comparing sounds and when he pulls the piano action out, one of the hammers is so much= smaller it looks as if it should be an octave or two higher. They sounded<BR= > fairly evenly matched to the class. Keith Roberts</BLOCKQUOTE>    Keith was replying to David Love, who said: don't think anyone has trie= d to make the argument that light hammers can<BLOCKQUOTE TYPE=CITE style= ="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PAD= DING-LEFT: 5px"> >be made to sound the same as heavy hammers.  Proponents of the ligh= t hammer idea think they sound better.</BLOCKQUOTE> Okay, I'll bite. My demonstration uses hammers of different sizes and makes,= voiced to sound alike. The purpose was to show that careful voicing could d= o a lot to even out sound by trading off mass and resilience. The very small= hammer to which Keith refers, though, was brought back into voiceable range= by adding mass in the form of a few turns of solder, then needled to adjust= its resilience so that its tone, and tonal gradient, matched its neighbors.= Experienced voicers can create a lot of tonal overlap between light and hea= vy hammers, but there is a point at which they can't be made to sound the sa= me. I ain't THAT good. Thanks for remembering, Keith. I thought that was a pretty interesting examp= le. Bob </HTML>