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<DIV>In a <FONT size=3>message dated 5/18/2004 10:18:55 PM Pacific Standar=
d Time, antares@euronet.nl writes:</FONT></DIV>
<BLOCKQUOTE style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: blue =
2px solid"><FONT face=Arial><FONT size=3>> <FONT size=2>We need to =
learn again to work with this wonderful felt. As Dale said <BR>> it : we =
should actually only dope these hammers to accentuate some <BR>> percussi=
veness, <STRONG><EM><U>not to</U></EM></STRONG> "<STRONG><EM><U>totally fill=
the tub and throw the babies in</U></EM></STRONG>".<BR>> This is an inte=
resting period where we are again offered felt made <BR>> with great craf=
tsmanship and artistry.<BR>> Alfred Dolge would smile upon us but he is p=
robably busy with other <BR>> things<BR>><BR>> André Oorebeek</FO=
NT></FONT></FONT></BLOCKQUOTE>
<DIV> <FONT size=3>Andre</FONT></DIV>
<DIV><FONT size=3> Thank you so much for the above clear statement. =
This is what I've been trying to convey about my voicing of the Ronsen hamme=
r. They don't require a tub of any thing to add a bit of tonal change. Same =
goes of the Isaac hammer & more recent Stwy hammer, but the latter is st=
ill hearsay till I prove it myself.</FONT></DIV>
<DIV><FONT size=3> <STRONG><EM><U>Many people simply install t=
he Ronsen Hammer& let the sound develop as it's played in. (includi=
ng me )</U></EM></STRONG></FONT></DIV>
<DIV><FONT size=3> Interesting things happen to the consistenc=
y of the hammer felt in use from the forces exerted on it. The effect o=
f hitting the string I think does more than pack the top which increases hig=
her partial content but the felt starts taking on a new shape or dynamic int=
ernal movement. I can prove none of this but myself & other have sp=
eculated about this for years.</FONT></DIV>
<DIV><FONT size=3> Just another piece of the puzzle.</FONT></D=
IV>
<DIV><FONT size=3> Another interesting facet of this discussio=
n as I think it thru is that I've used 4 different felts all treated th=
e same way by Ray at Ronsen & each though treated the same way in the pr=
essing have had slightly different tonal characteristics. May I sugges=
t Internal friction's of the felt Stephen B?</FONT></DIV>
<DIV><FONT size=3> One of the felts I liked most was the American fel=
t co. felt. Its a very limp feeling felt, very soft to the touch in sheet fo=
rm but gives a good deal of pop on attack & lots of natural sustain even=
without much juicing.</FONT></DIV>
<DIV><FONT size=3> The Bacon felt is typically a darker sounding ham=
mer initially & brightens fairly quickly with play in & also gives g=
ood sustain.</FONT></DIV>
<DIV><FONT size=3> The Abel or vrg felt is a very good felt fo=
r many pianos. A little bit more linear in it's tonal range also exhibits in=
stant music out of the box & a short play in time. It seems to be a very=
dense felt but hard on Rays hammers.</FONT></DIV>
<DIV><FONT size=3> This may shed a bit more light on the differences=
of the felt & wool varieties that are out there.</FONT></DIV>
<DIV><FONT size=3> Regards,</FONT></DIV>
<DIV><FONT size=3> Dale</FONT></DIV>
<BLOCKQUOTE style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: blue =
2px solid"><FONT face=Arial><FONT size=3><BR></FONT><FONT size=2><BR>&=
gt;</FONT></FONT></BLOCKQUOTE>
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