Bill Ballard wrote: > I actually think that however the action may have delivered to hammer > to the sting (and how it may have resisted the pianist's work to do > that), once the hammer hits the string ,it's a whole new ballgame. > The rules here have nothing to do with how well matched the the > hammers and the action may be to each other or to the pianist. What > is important at the point of impact it just how well match the > impedance of the string is in absorbing the force of the hammer' > blow. Here is where the SW has a completely different effect. This is a very important point Bill. Tho this distinction does not detract from the fact that how any given hammer is delivered directly affects its interaction with the string. Another very important point we are leaving out in all this is the whole discussion about how pianists "feel" the voice of the piano. To what degree this is purely a psychological phenomena or not does not change the fact that there is a real and undeniable connextion here which clouds all our musings about how an action plays and feels. It seems to me an underexplored area of great interest and bearing to such disscussion. RicB -- Richard Brekne RPT, N.P.T.F. UiB, Bergen, Norway mailto:rbrekne@broadpark.no http://home.broadpark.no/~rbrekne/ricmain.html
This PTG archive page provided courtesy of Moy Piano Service, LLC