Suzan, While I use the chopstick a little , I was instructed to try to avoid needling (even with one needle) without beginning a little lower than the crown, and staying firm enough to feel the knots or hard spots efficiently, what I was not yet able to do with the chopstick. I noticed too that the result is holding better if the string by string voicing is done still considering the crown as a whole, and trying to keep some firmness on the outer layers, while cutting the hardness of the attack working a little lower than I thought. If the top can stay resilient enough, and the edge of the strings mark have a good rebound from under , we avoid hardness of the attack while keeping much power, if you see what I mean. That is supposed to be obtained while beginning always lower than it seem necessary. The aspect of the hammer tells me also if a part can be needled more or no. I even sawn needling the top regions while checking on the adjacent hammers to feel if the material have well the same consistence under the needles. As I became more experienced with voicing and understood that these things are not lasting so much generally, I have gained a better firm stroke without the hesitation that kills the tone without much good. That's like playing light staccato notes on a keyboard we give the impulse, aiming for a place just above the front punching) and the key goes down itself alone for the rest of the stroke. That is a fairly good feeling I may say, if the tool don't rebound because of hardness we know the hard spot is there, a whole keyboard can be equalized in a very short time if one is confident in his feel (but not over enthusiastic for sure). So I finally understood that it is a matter of attitude, and probably trying to do the less possible as been said yet. Was first shown that by an American technician working for Steinway in France, so I guess the approach is may be similar for you. But I may confess I always try to keep a lot of brilliance, even if I hide it under a mellow beginning of the tone. Have ruined too much crowns before ! Well I'll stop explaining my life now ! Thanks for your description and bests ! Isaac OLEG Entertain et reparation de pianos. PianoTech 17 rue de Choisy 94400 VITRY sur SEINE FRANCE tel : 033 01 47 18 06 98 fax : 033 01 47 18 06 90 cell: 06 60 42 58 77 > -----Message d'origine----- > De : caut-bounces@ptg.org [mailto:caut-bounces@ptg.org]De la part de > Susan Kline > Envoye : lundi 17 mars 2003 16:26 > A : College and University Technicians > Objet : RE: Records in piano > > > At 12:11 PM 3/17/2003 +0100, you wrote: > >I am interested in hearing about the voicing marks you use. > > Hello, Isaac. > > My marks vary a little, but are pretty simple. For spacing, > I make diagonal lines down from the edges of the keysticks, > one to three, depending on the amount of spacing needed. > Travelling I don't mark -- I just do it. > > For voicing, since I make several passes, I leave the marks > for each pass a different place -- the first pass I mark just > behind the keytop, and the second is usually up on the shipping > rail. The third varies somewhat. > > The marks are: a vertical line for normally bright, just a > small dot for barely bright, and a big sloppy mark the whole > width of the keystick for "unholy tin-can" bright. If a note is > too soft or fluffy-sounding, I use a hollow circle. > > String-by-string voicing I usually do with the chopstick > tool through the strings, so I don't need to mark for it. > > Regards, > > Susan > > _______________________________________________ > caut list info: https://www.moypiano.com/resources/#archives >
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