THREE SECOND VOICING METHOD

Michael Jorgensen Michael.Jorgensen@cmich.edu
Thu Oct 30 05:14 MST 1997


Hello List,   
     I VOICED down a WHOLE PIANO in THREE SECONDS, - If you don't
believe me, read on.  I was responding to a faculty complaint about 
"thunk" when the una corda is released on a two year old Yamaha C-5.
Upon inspection, I found everything fine, (no loose cheek blocks,
pedals, rambunctious return, etc.), and the "thunk" seemed to be no more
than normal.  I didn't want to slow the keyframe return speed thoughout
its' whole travel as it didn't seem too fast,  just something to cusion
the impact.  I took an old damper felt, pulverized it into a ball of
fuzz, and dropped it down the crack along side the keyframe with the
soft pedal depressed.  The thunk seemed less, or atleast different.  I
checked the hammer alignment and found that VISUALLY the strings and
grooves aligned PERFECTLY so the action did not shift much and the piano
sounded fine.  After a day or so, the faculty member caught me in the
hall and said "What have you done to my piano?--you must have voiced
it---It sounds great!--and the thunk is gone!".
     It seems to me that periodically changing the rest position of the
action very slightly could have some merits as a voicing method. 
String  grooves would always be developing in a new spot, making hammers
last longer.  I suspect that as new grooves form, felt in the old
grooves puffs up to be like new again--so the action can be moved back,
(again voicing the piano).  This tactic could be especially useful for
Asian hammers which tend to brighten fast and sound best when they're
new, as it restores that new sound.  I cannot think of any
disadvantages,   Ideas? Comments?

-Mike Jorgensen RPT, Central Michigan University


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