Steinway "pinning" dilemma

[A440A@aol.com]

Fred writes:

<< Looking at this more carefully, I have to disagree with you as to the 
mechanism for the tonal effect of firm pinning. From the point of view of 
the hammer being thrown to the string, I think mass, inertia, and leverage 
are plenty to maintain firm contact between knuckle and jack. Where lack of 
firmness has its effect is in the wobble that is introduced during the 
throw of the hammer, and even more so the wobble upon impact with the 
string (ie, what the hammer does during the time it remains in contact). So 
from a purely tonal point of view, I don't think friction per se plays a 
role. >>

Hmm,  there is more to be explored here than I have time to, but there are 
some divergent ideas in my mind about how pinnng affects tone.  I don't totally 
accept that it is wobble in the hammer during its approach to the string, nor 
loss of contact between knuckle and jack.  
   I think it is wobble during contact, caused by the restorative forces of 
the displaced string imparting some energy back to the hammer/shank structure.  
I think the pinning is responsible for supplying a degree of impedance to the 
hammer and shank.  Without this "anchoring mechanism", the shank absorbs the 
transient shock of contact and by its unfettered vibration, causes a short 
interference between the hammer and string.  Perhaps the shank goes into a 
momentary random oscillation during contact which causes the tone to suffer, I 
dunno.  I do know that pinning up from 1 gram to 5 makes a clear difference in 
tone.   
 
   I say this because the sound of a loose pin is readily apparent on a very 
soft blow, where I wouldn't expect a lot of hammer wobble or shank flex to be 
in play.  I asked a tympanist about controlling the sound by how firmly he 
gripped the mallets and he said "Of course, there is a wide range of tone 
available depending on how firmly you hold the sticks".  (that may or may not be 
germane). 

Another consideration in bushing tightness and action resistance is that when 
a firm blow is delivered, the bushing cloth compresses on the "away" side, 
effectively only touching one side of the bushing. (If you look at a pin in the 
bushing under a magnifying glass while applying pressure, you will see it move 
into one side of the cloth, can there be much friction from the unloaded 
side?).  I wouldn't want to bet that a pianist could pick out notes that had 2 
grams less friction in the hammer flange!  
regards, 

Ed Foote RPT 
www.uk-piano.org/edfoote/
www.uk-piano.org/edfoote/well_tempered_piano.html
 <A HREF="http://artists.mp3s.com/artists/399/six_degrees_of_tonality.html">
MP3.com: Six Degrees of Tonality</A>