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<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>
<DIV class=OutlookMessageHeader dir=ltr align=left><FONT =
face=Tahoma
size=2>-----Original Message-----<BR><B>From:</B> =
pianotech-bounces@ptg.org
[mailto:pianotech-bounces@ptg.org]<B>On Behalf Of =
</B>antares<BR><B>Sent:</B>
Friday, April 01, 2005 9:24 AM<BR><B>To:</B> =
Pianotech<BR><B>Subject:</B> Re:
Oorebeeks Punch'ns<BR><BR></FONT></DIV><BR>On 1-apr-05, at 10:15, =
David
Nereson wrote:<BR><BR>
<BLOCKQUOTE>What puzzles me a bit about this article is that it is =
argued
that the taper somehow makes the punching firmer because it reduces =
the mass
of the punching at the top where the key hits it. But the diameter =
is wider
than the green punching pictured next to it, which, I would think, =
would
cancel out any reduction in mass. I don't doubt that the punchings =
are
better, but it's hard to believe the taper helps any if they're =
wider than
the plain ol' green ones. I imagine it's just the more firmly-packed =
felt
(denser), as mentioned earlier in the article, that makes the key =
hit bottom
with a more positive (less squishy) stop.<BR>--David Nereson,
RPT<BR></BLOCKQUOTE><BR><BR><BR>As I said before ( and also in my =
article) : I
learned about this tapered version at the Yamaha Academy.<BR>My =
instructor
there, at the time, showed me the difference between the smaller side =
of the
punching up, and the smaller side of the punching down.<BR>It did =
clearly make
a difference in sound.<BR><BR>One thing I have learned about this new =
Wurzen
punching, is, that if an instrument has not been regulated the right =
way, or
when an instrument has very loud hammers, you will not hear any
difference.<BR>You will hear a difference though when the instrument =
has been
regulated the right way, and when the hammers have a more or less =
'normal'
voicing, i.e. not really too loud, and not really too soft.<BR>There =
is of
course a wide scale between very soft and very loud, but then..... =
those two
are extremes.<BR><BR>The influence of the new tapered Wurzen punching =
is
subtle, and can only be heard on an instrument which has been =
regulated and
voiced according to 'normal' <I>professional</I> standards.<BR>The =
feel/touch
of the new punching on the other hand, is an other case : 'any' =
regulation
becomes more clear and more defined when you install these punchings. =
How can
it not be the case?<BR>It is a more dense material with a very =
satisfying
elasticity which Vladan Temer described so clearly before when he =
tested
several kinds of punchings.<BR>That means that a key dip of 10 mm is a =
key dip
of 10 mm.<BR>No more, and no less.<BR>That in itself makes all the
difference.<BR><BR>Capisce? (;<BR><BR>EAR<BR><BR><BR><BR><BR>friendly
greetings<BR>from<BR>André
Oorebeek<BR><BR>www.concertpianoservice.nl<BR><BR>"Where music is no =
harm can
be"<BR><BR><BR></BLOCKQUOTE></BODY></HTML>