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<DIV><FONT face=Arial size=2>I sure don't know the answer, but I do =
have one
comment that conflicts with the statement: "<FONT face="Trebuchet MS"
color=#0000ff>all the motion that contributes to the hammer =
contacting the
string occurs before the key bottoms out on the punching.<FONT =
color=#000000>"
</FONT></FONT></FONT></DIV>
<DIV><FONT face="Trebuchet MS" size=2></FONT> </DIV>
<DIV><FONT face="Trebuchet MS" size=2>That would be the baseball =
batting analogy
and the concept of "follow through". When the batter hits the ball,
theoretically, after the ball leaves contact with the bat, it shouldn't =
make any
difference what happens with the batter's swing after that point. But it =
does. I
don't know why, but the proper follow through is critical to successful
batting.</FONT></DIV>
<DIV><FONT face="Trebuchet MS" size=2></FONT> </DIV>
<DIV><FONT face="Trebuchet MS" size=2>I also don't know if this =
analogy is
applicable to a piano keystroke. But maybe!</FONT></DIV>
<DIV><FONT face="Trebuchet MS" size=2></FONT> </DIV>
<DIV><FONT face="Trebuchet MS" size=2>Terry Farrell</FONT></DIV>
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style="PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
<DIV><FONT face=Arial size=2></FONT><BR></DIV>
<DIV><SPAN class=437241004-02042005><FONT face="Trebuchet MS" =
color=#0000ff
size=2>I'd like to hazard a guess about how these punchings are able =
to affect
tone.</FONT></SPAN></DIV>
<DIV><SPAN class=437241004-02042005><FONT face="Trebuchet MS" =
color=#0000ff
size=2></FONT></SPAN> </DIV>
<DIV><SPAN class=437241004-02042005><FONT face="Trebuchet MS" =
color=#0000ff
size=2>Firstly let's admit the logical problem. If you look at the =
mechanical
model, all the motion that contributes to the hammer =
contacting the
string occurs before the key bottoms out on the punching. So, =
theoretically,
it is difficult to account for Andre's claims about this improved =
tone. We can
admit logically that the *feel* of the action may be quite different =
because
of the punching, because the experience of hitting bottom is such a =
great
portion of the artist's experience. OK. But the *tone*? Is this =
magical
thinking? Or may there be a more subtle explanation that satisfies
logic?</FONT></SPAN></DIV>
<DIV><SPAN class=437241004-02042005><FONT face="Trebuchet MS" =
color=#0000ff
size=2></FONT></SPAN> </DIV>
<DIV><SPAN class=437241004-02042005><FONT face="Trebuchet MS" =
color=#0000ff
size=2>The truth, I suspect, is in the marvelous nervous structure =
leading to
the artist's fingertips. The regulation of aftertouch is, let's say, =
10x more
precise with the antares punching than with a too-soft punching. I =
suspect
that the fingers, finding a much more precise bottom, are able to =
deliver that
much more precise a blow. Having played and found this certain bottom, =
the
*fingers* are now much more sure of how much force to use in the =
attack on the
keys. This is what affects the tone. The artist's touch is made more =
effective
by the clean bottom. </FONT></SPAN></DIV>
<DIV><SPAN class=437241004-02042005><FONT face="Trebuchet MS" =
color=#0000ff
size=2></FONT></SPAN> </DIV>
<DIV><SPAN class=437241004-02042005><FONT face="Trebuchet MS" =
color=#0000ff
size=2>Does this idea play? Or am I making a rationalization for =
magical
thinking?</FONT></SPAN></DIV>
<DIV><SPAN class=437241004-02042005><FONT face="Trebuchet MS" =
color=#0000ff
size=2></FONT></SPAN> </DIV>
<DIV><SPAN class=437241004-02042005><FONT face="Trebuchet MS" =
color=#0000ff
size=2>jason</FONT></SPAN></DIV></BLOCKQUOTE></BODY></HTML>