There is purported to be a lot of mystery about the strike point but I have always felt that this is were the action is. You want the area below the strike point to be firm, maybe even hard but you want the surface at the strike point moderately soft. That way when the pianist plays softly, that soft surface felt gives you those nice dark sounds. When the pianist leans into it that soft area compresses and the harder area underneath gives you the fire you want. This kind of voicing doesn't last a long time (unless you have some really exceptional hammers like the Wurzen felt ones) but the voicing is very fast to do so you can do it often. At least that's how I generally do it. dave __________________________________________ David M. Porritt, RPT Meadows School of the Arts Southern Methodist University Dallas, TX 75275 ----- Original message ----------------------------------------> From: Cy Shuster <741662027@theshusters.org> To: Pianotech <pianotech@ptg.org> Received: Fri, 28 May 2004 17:02:52 -0400 Subject: Re: Practical Concert Work >The article also recommends needling *only* on the strike point. I thought >that was a no-no? (Maybe a technique just for advanced voicers?) >The M & H factory tour article mentions that the factory technician did the >old demo of a business card's extra thickness forming an arch in a length of >spruce... >--Cy Shuster-- >Bluefield, WV >_______________________________________________ >pianotech list info: https://www.moypiano.com/resources/#archives
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