Strike Point

[Stéphane Collin]

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Hello Joe.

I'm just done establishing the striking line(s) on an old Bechstein =
1870.
My way to do this is totally empirical.  I explore all the space =
possible, listening to how the sound changes, and considering three =
parameters :

1=B0 the quality of timbre (mix of overtones)
2=B0 the quality of thump
3=B0 the dynamic response curve

I do this for the whole scale, not only in the trebble.

I find here many difficulties, mainly because I don't hear the same in =
the morning or in the afternoon or in other situations.  Also, I find =
the test to be far more useful and pertinent when I can put all hammers =
on one suspected good place and play some repertoire to see how it =
works.  Of course, trying many places takes a lot of time.

But there are clearly places where the timbre breaks my ears.  Often, =
those places have maximal thump and minimal dynamic response. =20
In other places the timbre gets more mellow, and you can feel the =
quality of thump getting sweeter (in the finger and in the ear) : there, =
often, I find the maximal dynamic response (I play the note crescendo =
from PP to FFF) but the sound is then often like too much fundamental =
and not enough overtones to be thrilling.
One thing I find nearly everytime in those older pianos is that the =
ideal (for me) strike points are not necessarily in a straight line.  =
>From section to section, I find often as much as 3 mm offset, and inside =
one section, the line is not always parallel to the key frame (but I can =
see according discrepencies in the cast iron frame). =20
Sometimes, in the bass section, I really love the sound on a place that =
simply wouldn't be possible for the hammers to work in the action (looks =
like they favoured, at Bechstein in those days, a much more punchy sound =
in bass than what I like; but I'm sure that the picture is different in =
a large hall with lots of reverberation). =20
Anyway, as I allow much deviation of the hammers from say a standard 13 =
cm from center pin, I have to alter the weighting accordingly.
While I suspect that the ideal strike point depends also on the hammer =
condition, I have always found that setting the strike point is one of =
the most rewarding things in the whole process of making a piano sound =
great.

I hope that this doesn't sound too heretic.  Bah, anyway, I like =
heresies. =20

Once I found the strike point by ear, I would like to measure where it =
lies, but here I have a hard time to make precise enough a measurement, =
certainly in the right half of the compass.  Any good tips for that ?

  ----- Original Message -----=20
  From: Joe Garrett=20
  To: pianotech=20
  Sent: Monday, October 04, 2004 5:36 AM
  Subject: Strike Point


  Over the years, I've experimented and studied the various =
recommendations for Strike Point. None seem to, truly satisfy me. I'd =
like to hear anyone's preferences, on the subject. What prompted this, =
is: I just recently had a New Key Set made, that esstablishe a new =
balance point, etc. In the process, the maker, (not to be named), threw =
out the old action rails, etc., from the original, (1860's Chickering, =
parallel strung, 8 footer.)! Yikes! Unfortunately, he did this with the =
owners say-so, instead of consulting me! Damn! Anyway, I'm going to be =
re-establishing the strike points and think some feed-back from y'all =
would put my mind, a bit more at ease. (well....maybe not, knowing you =
guys/gals!<G>)
  Any info would be appreciated.=20
  Best Regards,
  Joe Garrett, R.P.T.
  Captain, Tool Police
  Squares R I
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