---------------------- multipart/alternative attachment On 13-jan-05, at 7:06, gordon stelter wrote: > Please explain the suspected mechanism behind tonal > change due to punching substitution. > G >> quote from me in another email to the list : Well, that is a subtle issue but not hard to explain : It is a matter of transferring energy. If the upper surface of the front punching is the smallest, the=20 transfer of energy will be enhanced to the bottom more easily. Suppose you strike a giant, non conical, front punching with your fist,=20= and you strike that front punching in the middle.... Part of the energy will be absorbed by the outermost sides of that very=20= same punching and the sides may even curl up a little. Now you have a giant conical front punching, meaning that the upper=20 surface is smaller that the bottom side, and you again strike it in the=20= middle. There is less mass on the upper side, so the transfer of energy to the=20= bottom is more direct. That's the meaning of a conical punching. Of course, the effect will be even stronger if the fabric of the front=20= punching is not soft, the way so many front punchings are, but instead=20= more dense and thus more firm. That's the beauty of the front punching I described before : It is more=20= dense because it is made of very dense felt instead of woven fabric. A more dense front punching allows for a more precise key depth. A more=20= precise key depth allows for a more precise regulation. A more precise=20= regulation allows for a more precise after touch. A more precise after=20= touch allows for a more precise hammer striking distance. A more=20 defined hammer striking distance allows for more energy, and more=20 energy allows for a better transfer of energy. So there the circle is rounded : one of the smaller parts of our=20 actions, the front punching, plays actually a major role in the forming=20= and making of tone. The making of tone is, in the end, what it is all about. and: A key is like a sea saw. Usually, we find an old car tire under both sides of the sea saw to=20 soften the impact. Nevertheless, a little child sitting on the high end=20= of the sea saw will bump upwards slightly because of the impact at the=20= lower end. Now, if we take away the tires, the impact will be much harder and it=20 will hurt the behind of the child coming down, but it will also cause=20 the other child to almost get airborne, because the force of the impact=20= is much stronger. That is the an analogy in regard to a more firm front punching : It=20 causes a more intense transfer of energy and thereby creates a louder=20 tone. Your regulation can be more precise, thereby giving you the maximum=20 tonal output. unquote If you need more info, mail me privately. Andr=E9 Oorebeek >> ----- Original Message ----- >> From: Erwinspiano@aol.com >> To: pianotech@ptg.org ; caut@ptg.org >> Sent: Wednesday, January 12, 2005 8:58 PM >> Subject: Andres punching tested >> >> >> List >> While putting the final hours on a newly bellied >> D I did an experiment. >> I had installed the usual Thick green punching >> a while back prior to receiving the New Oorebeck >> front rail punching's. So I listened to the sound of >> F-4 carefully, checked the dip , then changed to the >> new ones, checked the dip , played the note & the >> sound suddenly came together with more power and >> clarity than the first punching. The solidity under >> my finger was firm and sure. >> Thinking it to be an anomally I changed back >> to the green ones. The Sound diminsihed & lacked >> focus. Well ,I did this a bout three times on the >> same note with the same result. I then checked a >> bass note f-1 with the same effect. >> I'd say the new puncing has a similar >> beneficial yet cumulative effect much like to mating >> & hammers to & leveling strings >> I placed the green punching between two pieces >> of thin maple & put a calipers on each side. The >> compression with modest force would change easily as >> much as .030. The white new punching only .010. >> Considering all this, since the key is where >> the power is generated it needs to have a precise >> stopping moment. If not after touch can change to a >> depth of .420 even with an initial dip setting of >> .390 .(which is my preferred dip in Steinways >> whenever possible.) >> Think of the distance in excessive jack travel >> especially on parts with a narrow window for jack >> movement & also it's effect on slowing repitition >> performance. With the white punchings a far more >> dependable dip /touch can be assured. >> Think of the improvement in SOUND Baby!!!!!!!! >> I noticed no change in noise even though this >> is a pressed felt & not woven. >> I immediately changed the entire set & tomorrow >> or Friday I'll have a chance to hear & feel the >> whole piano. >> Regards >> Dale Erwin > > > > =09 > __________________________________ > Do you Yahoo!? > Yahoo! Mail - Find what you need with new enhanced search. > http://info.mail.yahoo.com/mail_250 > _______________________________________________ > pianotech list info: https://www.moypiano.com/resources/#archives > > friendly greetings from Andr=E9 Oorebeek Vita Dura Est ---------------------- multipart/alternative attachment A non-text attachment was scrubbed... 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