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<DIV>In a message dated 4/23/2004 8:04:21 AM Pacific Standard Time, Richard.=
Brekne@grieg.uib.no writes:</DIV>
<BLOCKQUOTE style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: blue =
2px solid"><FONT face=Arial>The thing is that hardening... just about no m=
atter how you go about <BR>doing it, works to the detriment of felts n=
atural resiliancy. </FONT></BLOCKQUOTE>
<DIV><FONT size=3>>> <STRONG>OK Ric ,I'll bite. Yes in theory I gues=
s that's true but I think the real problem & thus misconception & re=
vulsion of lacquers as voicing solution comes from A tooo soft hammer &=
amp; toooo much lacquer(or whatever) in attempt to rectify a manufactur=
ing problem.</STRONG></FONT> </DIV>
<BLOCKQUOTE style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: blue =
2px solid"><FONT face=Arial>David <BR>Stanwood has done some interesting r=
esearch into that aspect of this <BR>whole subject matter and has a very int=
eresting lecture with some very <BR>illustrative high magnification photos.<=
/FONT></BLOCKQUOTE>
<DIV> <FONT size=3>>><STRONG> I would find this interest=
ing as I do of most the things Dave expolres but it wouldn't suddenly change=
may philosophy of tone & voicing.</STRONG></FONT></DIV>
<BLOCKQUOTE style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: blue =
2px solid"><FONT face=Arial>You will harden up the hammers with laquer... =
and depending on what is <BR>used on what you can impart a different kind of=
<<resiliancy>> from the <BR>new combined felt/laquer material t=
hat results. </FONT></BLOCKQUOTE>
<DIV> <STRONG><FONT size=4>>>Resielency is resiliency</FONT></S=
TRONG></DIV>
<BLOCKQUOTE style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: blue =
2px solid"><FONT face=Arial><U><STRONG>But it will impart a</STRONG></U> <=
BR><U><STRONG>different kind of sound quality then natural felt resiliency w=
ill,</STRONG></U></FONT></BLOCKQUOTE>
<DIV> <FONT size=3><STRONG> Yes & no. Natural felt resiency.=
?? Giant can O- definition worms.</STRONG></FONT></DIV>
<DIV><FONT size=3><STRONG> First lets clear something up =
for perspectives & definitions sake. No one who is a serious studen=
t of voicing wants a hammer that is to soft or to hard. Or under resilient o=
r over resilient? We all want Goldilocks porridge & piano hamrs to be ju=
uuusst right. If you have a Renner hammer that's a bit to soft &,o=
ccasionly it happens, what will you do? You file iron& juice & then =
play in time.</STRONG></FONT></DIV>
<DIV><STRONG><FONT size=3> If I get a Ronsen ,Stwy ,Isaac hamm=
rs that a bit to hard what do I do?</FONT></STRONG></DIV>
<DIV><STRONG><FONT size=3> I needle, reshape & a little fi=
ne filing & play in time</FONT></STRONG></DIV>
<DIV><STRONG><FONT size=3> My point is that if hammers are very close=
to a desired stiffness & require modest efforts of either technique to =
achieve desired results then how far apart are we in our definition of tradi=
tional voicing techniques, or the final auditory outcome. How far =
on our thinking of resilience. Not very. So the sound are not going to be ve=
ry different. </FONT></STRONG></DIV>
<DIV><STRONG><FONT size=3> On the other hand If I have m=
ore natural felt resilience left in the hammer without over densification &a=
mp; extra heat then which hamrs actually more resilience? On=
ce again define resilence.</FONT></STRONG></DIV>
<DIV><STRONG><FONT size=3> The one requiring 50 strokes of nee=
dles per side or the hmr that requires only 6 to 8 or perhaps a l=
ight solution of juice to stiffen the felt.? You decide. I've already v=
oted & my elbow & ears are happy. I usaully get 90% of what I w=
ant tonally with zero needles.</FONT></STRONG></DIV>
<DIV><STRONG><FONT size=3> Here to me is the magic &=
amp; that is that what we all actually want & must have for tone pr=
oduction is limited resielence not maximium resilence. Our semant=
ics on this subject are kinda screwed up or at least I am.</FONT></STRONG></=
DIV>
<DIV><STRONG><FONT size=3> I haven't even gotten to "Traditional" ye=
t but I'm guessin you can read it be between the lines. Maybe late=
r............</FONT></STRONG></DIV>
<BLOCKQUOTE style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: blue =
2px solid"><FONT face=Arial>which <BR>you may or may not find pleasing.&nb=
sp; Voicing is a hugely subjective... one <BR>of the most subjective things =
in our buisness.</FONT></BLOCKQUOTE>
<DIV> <FONT size=3><STRONG>>>>To this I can quite agree. Als=
o its' what we get comfortable with & what our tonal preferenc=
es are. I bet most avid voicers aren't far apart in what they call great ton=
e.</STRONG></FONT></DIV>
<BLOCKQUOTE style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: blue =
2px solid"><FONT face=Arial><BR><BR>Again... try out different approaches =
and find what you personally like <BR>best. We all in the end impart some of=
our own creativity to the <BR>instruments we work on, and thats good.... ye=
ilds variety which in turn <BR>insures there is something for everyone out t=
here.</FONT></BLOCKQUOTE>
<DIV><FONT size=5>>. Yeah Man!!</FONT></DIV>
<BLOCKQUOTE style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: blue =
2px solid"><FONT face=Arial><BR><BR>As for me... I'll put up a fine <FONT =
size=3><STRONG>traditional</STRONG></FONT> voiced hammer against <BR>anyth=
ing else out there with 100% clear confidence. </FONT></BLOCKQUOTE>
<DIV> <FONT size=4> </FONT> <FONT size=4>Me too Ric 100%=
</FONT></DIV>
<DIV> "<FONT size=4>Traditon" Tevia</FONT></DIV>
<DIV><FONT size=4> </FONT></DIV>
<DIV><FONT size=4> Happy saturday</FONT></DIV>
<DIV><FONT size=4> Dale</FONT></DIV>
<DIV></DIV>
<DIV> </DIV>
<DIV> </DIV>
<DIV><FONT lang=0 face=Arial size=2 FAMILY="SANSSERIF" PTSIZE="10"=
>Erwins Pianos Restorations <BR>4721 Parker Rd.<BR>Modesto, Ca 95357<BR>209-=
577-8397<BR>Rebuilt Steinway , Mason &Hamlin Sales<BR>www.Erwinspiano.co=
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