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<DIV>In a message dated 9/29/2003 10:16:37 PM Pacific Daylight Time, hufford=
1@airmail.net writes:</DIV>
<DIV> </DIV>
<DIV> <FONT size=3> Robin wrote</FONT></DIV>
<BLOCKQUOTE style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: blue =
2px solid"><FONT face=Arial> Also, again only one man's opinion, thi=
s is the<BR>most efficient possible use of a hammer assembly, and, I think, =
the more<BR>Conventional 90 degree installation is substantially less effici=
ent.<BR> The point, though, that I tried to make, is that=
I can't agree that the<BR>numerous tonebuilding and strungback repair techn=
iques available to<BR>technicians cannot correct this problem where there is=
one. They can.<BR> <FONT color=#0000ff>Any set o=
f hammers that has to be lacquered any more than in the last<BR>octave or so=
, is intrinsically a defective set, in my opinion and I place<BR>little stor=
e in the techniques of "voicing up" or "down " even though I have<BR>learned=
them myself at a prominent factory or in seminars here or there<BR>wh=
ere this whole process has been elevated into a kind of professional art<BR>=
and skill which I think is complete nonsense technically and, fundamentally,=
<BR>a fraud.</FONT> This entire process, coupled with the vastl=
y larger heavier<BR>hammer frequently found on new American pianos,and the l=
arge, monstrous<BR>shanks lets this area stand out first as slightly differe=
nt on some new<BR>pianos in some cases. But, it is a big mistake, in m=
y opinion, to jump on<BR>this and immediately conclude the soundboard has fa=
iled which is a most<BR>common assumption made here.<BR>
<DIV><FONT face="Times New Roman" color=#000040 size=4> &nb=
sp; Hi Robin</FONT></DIV>
<DIV><FONT face="Times New Roman" color=#000040 size=4> &nb=
sp; I'm a bit confused as to the comments regarding voicing up or down as an=
art being a fraud. Perhaps you'd care to clarify this. Are you saying that =
you don't voice hammers? If so then how else are tonal problems corrected in=
your practice? I strongly disagree with the comment about lacquering hammer=
s. This method when used on workable felted hammers requires only enough sol=
ution to stiffen the spring rate of the hammer felt and not enough to keep t=
hem from being carefully needled for small tonal adjustments. If your r=
eferring to the over juicing of hammers till they become petrified then I ca=
n quite agree with you. But I've juiced countless sets of hammers and the go=
od ones will be difficult to tell that any kind of juice has been applied wh=
en needles are inserted.</FONT></FONT></DIV></BLOCKQUOTE>
<DIV><FONT face="Times New Roman" color=#000040> </FON=
T><FONT face=Arial><FONT face="Times New Roman" color=#000040 size=4=
> A workable hammer by my definition is one that recks little juice or =
needling to get the proper tonal results. The more a set of hammers lea=
ns to either extreme, either too stiff or not stiff enough, the less to=
nally satisfying the outcome can be. Voicing stability is also often comprom=
ised in a too stiff hammer and too soft may remain puffy sounding, well fore=
ver.</FONT></FONT></DIV>
<DIV><FONT face=Arial><FONT face="Times New Roman" color=#000040 size=
=4> I certainly agree that the use of too heavy of hammers in many A=
merican and other pianos too be a poor idea especially in the killer regions=
. Remedies in this area can too often be poor hammer placement missing =
the strike line. Simple a modifications of certain portions of the strike li=
ne can render a substantial improvement in tone. Also as I'm sure you know m=
any pianos are very sensitive to too much weight and a little dieting in the=
weight dept. goes along way to a better sound.</FONT></FONT></DIV>
<DIV><FONT face=Arial><FONT face="Times New Roman" color=#000040 size=
=4> Regards--Dale Erwin</FONT></DIV></FONT>
<DIV><FONT face="Times New Roman" color=#000040 size=4></FONT> </=
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