Hi Newton, Well I learned somthing today, I did"nt realise that the sheets varied in density, having only seen one cutting operation, the felt was cut in such a manner that half the felt the bass end was on the left, flat side up. The other half bass on the right flat side down. Very little waste material from a complete sheet. I agree with your statement with regards to different hammer treatment for different taste and uses. The new Renner blues that Baldwin is now using, is a definite improvement for orchestral and large hall usage, the initial reaction I've heard from jazz players has been very positive. Now the down side, considerable voicing is required to satisfy the romantic style classical player, in more intimate surroundings. May be, piano makers should consider making two grades of their larger pianos. In Baldwin's case an SD10 orchestral and a SD10 Recital, one with Renner blues the other with cold pressed hammers, what a thought, it would be interesting to see the results. Regards Roger At 06:28 PM 6/8/98 -0400, you wrote: >Roger, > >Some hammer felt sheets have tapered thickness and the density of the >felt tapers as well. > >Hydrolic presses are most often used, except at steinway, I think. > >Felt is not a perfectly homogenous material so there will be hard and >soft spots in any good hammer. Hand cutting is obsolete, Steinway may >still be doing it that way. Renner uses routing machines to form their >felt, Isaac uses an extremely sharp two bladed rail run cutter that cuts >extremely evenly. > >As Isaac says, "A cannon ball is hard and a cotton ball is soft. Let's >talk more about the tone we want and ways and means to get that tone.". > >Different pianos and different venues will require different power and >tone elements to sound best. > > Newton > nhunt@jagat.com > > > > Roger Jolly Balwin Yamaha Piano Centres. Saskatoon/Regina. Canada.
This PTG archive page provided courtesy of Moy Piano Service, LLC