[CAUT] Tone "contrast"; Was - The "new" S&S Hammers.

[Fred Sturm]

On 9/19/07 7:42 AM, "David Love" <davidlovepianos at comcast.net> wrote:

>   As a side note, with lacquered hammers you are often stuck with using the
> una corda pedal in a single position--it's either on or off--because of the
> difficulty in getting every little lacquer crystal in every position that
> might cause an unwanted zing.
Hi David,
    I have found that, using the needle devises I recently sent photos of, I
can get a good range of color in the full range of una corda on lacquered
Steinway hammers. It is a matter of consistent and precise technique with
different sized needles, and, of course, well marked string positions. I do
an angled jab just to the left of the string mark, JUST to the left,
basically touching the edge, with #10, angled away from the string mark. Do
this to all hammers (in a section at a time, checking samples). Then follow
with #8 in the full shift position, which is gauged from the right side of
the string mark. That goes in perpendicular. Then check and do more if
desired and to even up, but that general idea. These two jabs to each
between string area of each hammer usually take all the zing, and give a
good range from half to full pedal.
    (Actually it is more than one jab with each devise: one at the top of
the crown, one angled from the back, one angled from the front, three jabs
each time in a line around the surface of the hammer with each needle
devise, but in the alignment I described).
    And finally use the #12 for touch up. Play each note while shifting, so
that you get the whole range, and listen for any zing. Where was it in the
range? Hit that area with #12. You will hardly change the tone qualities you
have established with #8 and #10, but will remove any zing. I don¹t find too
many zings using this technique, but I don¹t want there to be any.
    It is very dangerous to assume that a pianist will only use the una
corda as an on/off devise. How would I know that? <G> Well, partly because I
use una corda through its full range myself, but also from a note or two
from a pianist.
    And there is also the danger that the pianist will lightly rest the left
foot on the left pedal, just barely pressing it. This is a habit with some,
and they don¹t think they are doing anything other than keeping that foot at
the ready. But it can sure make your voicing job sound bad if you haven¹t
paid close attention to the area just to the left of the string. Hence my
wording above about JUST to the left.
    I essentially agree with your statements about meeting the tastes and
desires of your customer. Although often it is very, very difficult to tease
that out of them.
Regards,
Fred Sturm
University of New Mexico


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