Steinway "pinning" dilemma

[Conrad Hoffsommer]

Ed,

At 14:18 10/10/2003 -0400, you wrote:
>Horace-
>
>Here's a question for you (and anybody else):  How would you imagine 
>mechanically,
>a "blow"....or should we say "touch"? that is a mechanical imitation of 
>the way(s)
>a fine performer might move the key?  It's easy enough to drop a half 
>pound weight
>4", but that seems a very crude approximation of a way of striking a key 
>that is
>seldom used in performance.
>
>My point is subtle (and some would say -too-subtle), that we should begin 
>with a
>model of what sensitive performers do, then try to make a contraption that 
>works
>similarly.
>
>Ed Sutton



I'm still trying to imagine ANY difference the string(s) would see from a 
hammer striking it at a given velocity, whether accelerated to that 
velocity by thumb, finger, half pound weight or forehead.  If escapement 
has occurred, the hammer is no longer mechanically connected to the key 
accelerator, right?

The only connection to the action at the time of impact is the flange 
centerpin, hence the importance of good and consistent pinning.

The use of a dead weight (other than my forehead) is for absolute 
consistency necessary for comparison,  as subtle differences in velocity 
can change the sound envelope.

IMHO, "Sensitive" players only have an impact(pun intended) on repeated 
notes, when articulation comes into play.

Where am I going wrong?



Conrad Hoffsommer, Decorah, IA
Household Hint: A set mouse trap placed on top on of your alarm clock
  will prevent you from rolling over and going back to sleep.