Unison Width - was stability issue

[Robin Blankenship]

David,

I have had good success going in with a single needle, pulled out to be
fairly long, right beneath the strike point on the side of the hammer. One
stroke directly under the strike point. If that is not enough, then one
stroke on each "corner" of the crown. No more than 1/16th inch below the
strike point. Really can be effective.

Robin


----- Original Message -----
From: David Ilvedson, RPT <ilvey@jps.net>
To: <pianotech@ptg.org>
Sent: Friday, November 24, 2000 1:40 AM
Subject: Re: Unison Width - was stability issue


> Roger,
>
> Now that is the trick isn't it?  When is that moment just before "over
> voice(d)"?
> I would have thought that the bright, brassy sound would have a
predominance
> of high partials...What do you mean by a higher ratio of fundamental to
> higher partials?  If I have a Yamaha hammer that is played a lot, where is
> the compression of the felt happening to cause the bright/brassy sound?
> Near and around the crown?  Does it ever really go down into the lower
> shoulders?  I will be filing a C3's hammers in the next couple of weeks.
> The filing will even out the tone but it will still be too bright.  Where
> would you suggest I needle?  I'm not interested in steaming right now.  I
> would typically be trying to loosen up the upper shoulders...
>
> David I.
>
>
>
> >Over voice a hammer, ( shoulders too soft) the tone becomes un focused as
> >the partials will be as strong as the fundamental.  Needle the crown too
> >much and the note will become dead and muted.
> >
> >If you get a chance observe the changes on a RCT pianalyser. and all will
> >be very clear.
> >
> >At one time, when teaching voicing classes, I would get all kinds of
> >spirited debates on hearing high frequency partials.  By doing the
> >alterations and showing the changes on a spectrum analyser, there is no
> >discussions.
> >For years i thought that bright screaming notes were lots of high
> >harmonics, now I know different.
> >
> >Hope this helps.
> >Roger
> >
> >
> >
> >
> >At 01:45 AM 23/11/00 -0600, you wrote:
> >>
> >>>
> >>> >     The softer the hammer, the less pronounced the higher
> partials...so,
> >>> >tuning irregularties show up less in a unison with a softer hammer.
> There
> >>is
> >>> >a 'wider' acceptance of what is perceived as 'in tune'.
> >>> >
> >>> >
> >>> >Dan Reed
> >>>
> >>> Hi Dan,
> >>>             It is just the opposite, bright hammer mostly fundamental,
> and
> >>> low harmonic development
> >>
> >>
> >>Wait a minute
> >>    If I want a soft sound do I want high partials or low fundamental
and
> >>"low harmonic development"  what ever that is. ?  I am taking you mean
> >>"bright hammer" as a hard hammer.   How does a hard hammer give mostly
> >>fundamental?
> >>
> >>I don't understand the data below.  What is or are   "Vol units"  ?
> >>---ric.
> >>
> >>
> >>
> >>>
> >>> An example of A4/A5 before and after voicing.
> >>>
> >>> Note A4         Partial      Sec sustain  Vol units    Sec sustain Vol
> >>units
> >>>                          1          4.46             11.26
4.46
> >>>        15.36
> >>>                          2          4.04               4.26
4.32
> >>>         13.28
> >>>                          3          4.32               4.60
4.46
> >>
> >Roger Jolly
> >Saskatoon, Canada.
> >306-665-0213
> >Fax 652-0505
> >
>