<HTML><BODY BGCOLOR="#ffffff">David, David, Dale, Stephane, Andre, Obviously, there are many factors that go into creating a nicely voiced = instrument.  Hammer size, weight, hardness, mating to strings, strike p= oint, etc., etc.   As David A. pointed out, figuring out what it is that you want to hear i= s step one.  I guess the reason that there is no definitive text on the= subject of voicing is because so many factors are involved, the book would = be absolutely encyclopedic.  It would weigh too damned much to carry ar= ound in the ol' tool kit!  And in the end, there would be someone else = with an equally valid opinion who does things entirely differently. This is such a great profession!  Even the experts are constantly l= earning--and teaching--new things.  We're all infants in one regard or = other. Thanks for the update on your book, Andre.  Hope you can get to the= states, preferably to a CA conference, one of these years. Dave Stahl In a message dated 11/19/04 12:21:36 PM Pacific Standard Time, Erwinspia= no@aol.com writes: <BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-= LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">  David A. &Stephane  So many details so little time ehh?  Yes, David I agree develop a tonal memory & decide how to get= what your ears cry out for in the music this tone produces.  Stephane,I'll also add that strike point is so overlooked in the = prevoicing process I think one could teach a class about it.   It doesn't matter what you do to the hammer if the thing is= n't hitting the right spot on the string. I find I must tweak every set of h= ammers I install in the top two trebles & it isn't just stwys. It's Webe= rs& Bechsteins & Masons etc. you want the most tone from these secti= ons then learn that 1 mm is a mile.  Most treble hammer lines are frequently not a line at all = but a slight curve,hoseshoe or lines that run in then out. I opened another = can o Worms huh? Consider that the string heights in many brands of pianos varies signif= icantly like as much as 3 to4 mm end to end yet the factory standard boring = spec doesn't allow for this at all to my observations. So if all hammers are= bored the same in a given set the treble will be overstriking or understrik= ing & an inaccurate strike point result. More fun is uneven & whacky= regulation & varying geometric relationships.   Dale Erwin <BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-= LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">Hello Dave. In addition to what you said, I would like to bring up the weight of the= hammer (considered as a voicing issue) and the strike point (considered = in the same way).  I believe that those two variables affect much what= happens when you put your needles in the hammer felt.  Not to mention, of c= ourse, how the acoustic body responds to all this, because at voicing time, it = is too late to alter that. Does anyone have guide lines as how to diagnose a too heavy or too light= hammer on basis of the sound it produces (instead of on basis of weight control) ? Best regards Stéphane Collin </BLOCKQUOTE> </BLOCKQUOTE> </HTML>