<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN"> <HTML><HEAD> <META http-equiv=Content-Type content="text/html; = charset=iso-8859-1"> <META content="MSHTML 6.00.2900.2180" name=GENERATOR> <STYLE></STYLE> </HEAD> <BODY bgColor=#ffffff> <DIV><FONT face=Arial size=2>Hello Joe.</FONT></DIV> <DIV><FONT face=Arial size=2></FONT> </DIV> <DIV><FONT face=Arial size=2>I'm just done establishing the striking = line(s) on an old Bechstein 1870.</FONT></DIV> <DIV><FONT face=Arial size=2>My way to do this is totally = empirical.  I explore all the space possible, listening to how the sound changes, and considering three parameters :</FONT></DIV> <DIV><FONT face=Arial size=2></FONT> </DIV> <DIV><FONT face=Arial size=2>1° the quality of timbre (mix of overtones)</FONT></DIV> <DIV><FONT face=Arial size=2>2° the quality of thump</FONT></DIV> <DIV><FONT face=Arial size=2>3° the dynamic response = curve</FONT></DIV> <DIV><FONT face=Arial size=2></FONT> </DIV> <DIV><FONT face=Arial size=2>I do this for the whole scale, not only = in the trebble.</FONT></DIV> <DIV><FONT face=Arial size=2></FONT> </DIV> <DIV><FONT face=Arial size=2>I find here many difficulties, mainly = because I don't hear the same in the morning or in the afternoon or in other situations.  Also, I find the test to be far more useful and = pertinent when I can put all hammers on one suspected good place and play some = repertoire to see how it works.  Of course, trying many places takes a lot of time.</FONT></DIV> <DIV><FONT face=Arial size=2></FONT> </DIV> <DIV><FONT face=Arial size=2>But there are clearly places where the = timbre breaks my ears.  Often, those places have maximal thump and minimal = dynamic response.  </FONT></DIV> <DIV><FONT face=Arial size=2>In other places the timbre gets more = mellow, and you can feel the quality of thump getting sweeter (in the finger and in = the ear) : there, often, I find the maximal dynamic response (I play the note = crescendo from PP to FFF) but the sound is then often like too much fundamental = and not enough overtones to be thrilling.</FONT></DIV> <DIV><FONT face=Arial size=2>One thing I find nearly everytime in = those older pianos is that the ideal (for me) strike points are not necessarily in a = straight line.  From section to section, I find often as much = as 3 mm offset, and inside one section, the line is not always parallel to the = key frame (but I can see according discrepencies in the cast iron frame).  </FONT></DIV> <DIV><FONT face=Arial size=2>Sometimes, in the bass section, I = really love the sound on a place that simply wouldn't be possible for the hammers to = work in the action (looks like they favoured, at Bechstein in those days, a much = more punchy sound in bass than what I like; but I'm sure that the picture is = different in a large hall with lots of reverberation).  </FONT></DIV> <DIV><FONT face=Arial size=2>Anyway, as I allow much deviation of = the hammers from say a standard 13 cm from center pin, I have to alter the weighting = accordingly.</FONT></DIV> <DIV><FONT face=Arial size=2>While I suspect that the ideal strike = point depends also on the hammer condition, I have always found that setting the = strike point is one of the most rewarding things in the whole process of making a = piano sound great.</FONT></DIV> <DIV><FONT face=Arial size=2></FONT> </DIV> <DIV><FONT face=Arial size=2>I hope that this doesn't sound too = heretic.  Bah, anyway, I like heresies.  </FONT></DIV> <DIV><FONT face=Arial size=2></FONT> </DIV> <DIV><FONT face=Arial size=2>Once I found the strike point by ear, I = would like to measure where it lies, but here I have a hard time to make precise = enough a measurement, certainly in the right half of the compass.  Any good = tips for that ?</FONT></DIV> <DIV><FONT face=Arial size=2></FONT> </DIV> <BLOCKQUOTE dir=ltr style="PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; = BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px"> <DIV style="FONT: 10pt arial">----- Original Message ----- </DIV> <DIV style="BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: = black"><B>From:</B> <A title=joegarrett@earthlink.net = href="mailto:joegarrett@earthlink.net">Joe Garrett</A> </DIV> <DIV style="FONT: 10pt arial"><B>To:</B> <A = title=pianotech@ptg.org href="mailto:pianotech@ptg.org">pianotech</A> </DIV> <DIV style="FONT: 10pt arial"><B>Sent:</B> Monday, October 04, 2004 = 5:36 AM</DIV> <DIV style="FONT: 10pt arial"><B>Subject:</B> Strike Point</DIV> <DIV><BR></DIV> <DIV><FONT face=Arial size=2>Over the years, I've experimented and = studied the various recommendations for Strike Point. None seem to, truly satisfy = me. I'd like to hear anyone's preferences, on the subject. What prompted this, = is: I just recently had a New Key Set made, that esstablishe a new balance = point, etc. In the process, the maker, (not to be named), threw out the old = action rails, etc., from the original, (1860's Chickering, parallel strung, 8 = footer.)! Yikes! Unfortunately, he did this with the owners say-so, = instead of consulting me! Damn! Anyway, I'm going to be re-establishing the = strike points and think some feed-back from y'all would put my mind, a bit more at = ease. (well....maybe not, knowing you guys/gals!<G>)</FONT></DIV> <DIV><FONT face=Arial size=2>Any info would be appreciated. = </FONT></DIV> <DIV><FONT face=Arial size=2>Best Regards,</FONT></DIV> <DIV><FONT face=Arial size=2>Joe Garrett, R.P.T.<BR>Captain, Tool Police<BR>Squares R I</FONT></DIV></BLOCKQUOTE></BODY></HTML>