WHere's Waldo (was Big hammers)

jason kanter jkanter@rollingball.com
Wed, 1 Sep 2004 07:49:32 -0700


Speaking for myself, I looked at the picture and noted the coloring and
shape and size of the hammers, admired the hammer line, saw with a frown the
jack was not nicely positioned under the knuckle, noted that the flash had a
reflection on many but not all the drop screws, admired the jack's
regulating button, and went on; then read Ric's comment, went BACK to the
picture, studied those pixels of the knuckle core, thought "Omigod, Ric
analyzed the action geometry," noted that the knuckle core seemed to have an
angle in it as if it had been broken?

Where's Waldo is a good analogy. We should analyze photos more - a form of
puzzler.

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jason kanter . piano tuning/regulation/repair
bellevue, wa . 425 562 4127 . cell 425 831 1561
orcas island . 360 376 2799
[see historic temperaments at www.rollingball.com]
----- Original Message ----- 
From: "Dean May" <deanmay@pianorebuilders.com>
To: "Pianotech" <pianotech@ptg.org>
Sent: Wednesday, September 01, 2004 5:52 AM
Subject: RE: Big hammers


> >>The knuckle core seems to be very much t ilted towards the hammer...
> which changes the shank ratio from the intended one, in this case
> increaseing the leverage of the shank.
>
> Cheers
> RicB
>
>
> Thanks for explanation, Ric. Avery wasn't the only one that didn't get it.
>
> You know, this happens quite a bit when a comment is made that goes over a
> lot of heads. I'm not intending to pick on Ric here. Let's remember that
the
> audience on this list is pretty big, lots of people reading that don't
have
> the experience of many of you guys. Please be careful to not assume too
> much, especially when it would take just another sentence or two (like in
> this case) to more fully explain.
>
> Thanks!
>
> Dean
> Dean May             cell 812.239.3359
> PianoRebuilders.com   812.235.5272
> Terre Haute IN  47802
>
>
>
> _______________________________________________
> pianotech list info: https://www.moypiano.com/resources/#archives
>


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