Oblique hammers

[Stéphane Collin]

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Hi Wim.

There is a major difference between the oblique hammer pattern and the =
una corda pattern.  In the oblique hammer, on a hard blow, the three =
strings of the unisson have a positively different sound, the right =
string having much more upper partials than the left one, being in =
contact for much less time with the hammer.  The blend of the three =
different sounds create a much more expressive dynamic range, which you =
couldn't achieve with hammer voicing (I believe so, maybe I am wrong).
I didn't hear false beat issues, I think because of the great difference =
in sound between the three strings.  Indeed, at a certain moment, in =
high trebble, you are right, the awful tone is unavoidable.  Also, in =
the low tenor, the effect is inaudible.  But I heard some nice things in =
between.
I must agree, I don't expect such a system to last for decades.  But =
that is another ethic interesting question.  Better sound for a less =
long time, or other way round ?

Regards,

St=E9phane Collin.

----- Original Message -----=20
  From: Wimblees@AOL.COM=20
  To: pianotech@ptg.org=20
  Sent: Wednesday, May 29, 2002 7:08 PM
  Subject: Re: Oblique hammers


  In a message dated 5/29/02 9:39:55 AM Central Daylight Time, =
collin.s@skynet.be writes:=20



    It doesn't work on the low tenors, neither on the high trebble, but =
elsewhere, waw !=20
    I'm just afraid for premature wear of the hammers and maybe some =
trouble at the flange center pin, carrying so an unusual torque. =20


  Stephane=20

  The sound you get might be pleasant to you, but I think it is a sound =
that is not "normal" for a piano. The effect you have is the same as =
using the shift on a grand. Instead of hearing three strings, you only =
hear two. What the oblique hammers on an upright is doing is the same =
thing. The hammer is only hitting gone or two strings on a soft blow.=20

  But on a normal to hard blow, the hammer is creating a certain amount =
of distortion in the tone because the hammer is hitting the strings at =
an angle. One of the procedures in voicing is making sure the hammer is =
making contact with all three strings at the same time, because if it =
doesn't it creates a false beat. Each one of the three strings are =
activated at a different time, creating false beats.=20

  And this is not even taking into consideration the tremendous amount =
of stress on the center. Is it worth having to replace the butts and =
flanges more often, to get the unique sound you are getting.=20

  Wim=20

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