This is a multi-part message in MIME format. ---------------------- multipart/alternative attachment Andre: =20 I see from looking back through the archives that you are talking about special conical shaped punchings. What have you found when experimenting in this area with Renner felt punchings. I see that they make them as thin as 3 mm. =20 =20 David Love davidlovepianos@comcast.net=20 -----Original Message----- From: pianotech-bounces@ptg.org [mailto:pianotech-bounces@ptg.org] On Behalf Of David Love Sent: Thursday, January 13, 2005 10:16 PM To: 'Pianotech' Subject: RE: Andres punching tested =20 Remind me what thickness felt punchings are you recommending? What would be the minimum and maximum thicknesses you would use/ =20 =20 David Love davidlovepianos@comcast.net=20 -----Original Message----- From: pianotech-bounces@ptg.org [mailto:pianotech-bounces@ptg.org] On Behalf Of antares Sent: Thursday, January 13, 2005 9:35 AM To: Pianotech Subject: Re: Andres punching tested =20 On 13-jan-05, at 7:06, gordon stelter wrote: Please explain the suspected mechanism behind tonal change due to punching substitution. G =20 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 transfer of energy will be enhanced to the bottom more easily. Suppose you strike a giant, non conical, front punching with your fist, and you strike that front punching in the middle....=20 Part of the energy will be absorbed by the outermost sides of that very same punching and the sides may even curl up a little. Now you have a giant conical front punching, meaning that the upper surface is smaller that the bottom side, and you again strike it in the middle. There is less mass on the upper side, so the transfer of energy to the 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 punching is not soft, the way so many front punchings are, but instead more dense and thus more firm. That's the beauty of the front punching I described before : It is more 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 precise key depth allows for a more precise regulation. A more precise regulation allows for a more precise after touch. A more precise after touch allows for a more precise hammer striking distance. A more defined hammer striking distance allows for more energy, and more energy allows for a better transfer of energy. So there the circle is rounded : one of the smaller parts of our actions, the front punching, plays actually a major role in the forming 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 soften the impact. Nevertheless, a little child sitting on the high end of the sea saw will bump upwards slightly because of the impact at the lower end. Now, if we take away the tires, the impact will be much harder and it will hurt the behind of the child coming down, but it will also cause the other child to almost get airborne, because the force of the impact is much stronger. That is the an analogy in regard to a more firm front punching : It causes a more intense transfer of energy and thereby creates a louder tone. Your regulation can be more precise, thereby giving you the maximum tonal output. unquote If you need more info, mail me privately. Andr=E9 Oorebeek ----- Original Message -----=20 From: Erwinspiano@aol.com=20 To: pianotech@ptg.org ; caut@ptg.org=20 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.=20 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.)=20 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 __________________________________=20 Do you Yahoo!?=20 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 An HTML attachment was scrubbed... URL: https://www.moypiano.com/ptg/pianotech.php/attachments/e6/b2/0c/b2/attachment.htm ---------------------- multipart/alternative attachment--
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