Wretched S&S & Yamahas

[JIMRPT@AOL.COM]

Well there are different ways of approaching the discussion vis a vis 
aftermarket hammers on asian pianos. :-)

 One way is to say that if you haven't tried it don't scoff at the idea.

Another way is to say that if it ain't 'all' Yamaha, or Kawai, it ain't real.

A third way is to say that it depends on the situation for which any 
particular instrument is destined for.

There are many factors that come into play when speaking of the performance 
of any individual instrument, of whatever brand.
 "Any' brand destined for a performance venue requires a different approach 
than it would were it scheduled for home use or in a small practice studio.

 We need to be careful when we throw around terms such as "power", 
"projection", "volume" and the ever elusive "tone".

Power, projection and volume are often used interchangably and it ain't so 
dear folk.....................they are seperate parts of a whole. AND All are 
dependant on the transmital system, i.e., the rim/soundboard combination, as 
well as the type of hammers used.

 In 'my' terms they are identified something like:
Power: The hammers ability to extract all of the latent vibrancy of any given 
string.
Projection: The trait of causing the string to vibrate in a manner where very 
little energy is lost in the hammmer blow itself and the proponderance of 
energy is fed to the bridge/soundboard system.
Volume: How LOUD is this sucker? :-)

 In my world a piano can be as "loud"(volume) as the dickens and not have any 
true power, though it has volume, because it elicts mainly the higher 
partials? In this instance the sound can be so "loud" as to be uncomfortable 
while playing the danged thing ......... one just stops playing it. (cause is 
typically rock hard hammers) Yet this very "loud" piano can just 'die away' 
when one leaves the immediate area of the thingee.
 In my world a piano can have very modest "volume" and yet "project" to the 
fartherest corner of the hall or room. A piano with excellent "projection" can
elicit the tiniest ppppp to the greatest ffffff in such a manner as to 
clearly audible throughout its range and throughout the room. 
 In my world a piano can have "power" that calls forth everything that a 
string has to give and yet be a dog when it comes to having "volume" and 
"projection".

 In a two axis chart these three traits..power, projection and volume, could 
have intersecting lines at the point of greatest appearance balanced for all 
three traits.......that is good as far as it goes but it ain't always what is 
desired...is it? All things being equal, which they aren't, if we have to 
sacrifice one trait slightly to get the best out of the other two traits 
which would we sacifice???? Doesn't it depend on the intended venue?

 That brings us down to the equation of "tone". That elusive, yet some say  
quantifiable, characteristic of a given set of hammers in combination with 
the rest of the sound producing system. Given the parameters inherent in any 
given instrument there is an optimum set of hammers to bring out the 
qualities most desired...no argument there right???
(voicing is the key here without regard to what hammer is used)

 For a flat statement to be made that so and so brand of hammer is the 'best' 
for this piano is to make a statement that just is not supportable in the 
normal course of events. I have rebuilt many Yamahas, and a few Kawais, and I 
have used, what I feel, are appropiate hammer sets to achieve the quality I 
desired out of any given piano. What I wanted was the best mix of "power", 
"projection", "volume" and "tone" that I could achieve. I have only once 
chosen to go with MOE hammers, instead choosing either Renner or Abel to fit 
the piano.  These pianos have ranged from modern (10 years or less old) which 
have been damaged in some manner....to "grey market" thingees 50 years old.

 On each occasion the selection of other than MOE hammers has been an 
improvement over the full range of traits as discussed.........your mileage 
may differ but if we are driving the same thing.......... it should be awful 
close...shouldn't it?

 Remember we are speaking here of operating within the confines of the 
original design of the soundboard/bridge sytem and not speaking of altering 
this system in any substanitive manner.
My view.
 JIm Bryant (FL)