---------------------- multipart/alternative attachment Bassooner I was there. Who are you? You didn't sign your name. Very Good description of the way Aris hammers work. Other hammers do not nearly fit this profile though & one size fits all voicing techniques as he described for his are not necessarily transferrable one brand of hammer to another without some exploration of there latent potential initially. Know what I mean? IMO Dale Erwin I had a chance to speak with hammer & bass string craftsman Ari Issac at the San Francisco Chapter meeting this month. The most impressive things he taught me was to listen to great piano recordings, even old recordings, and figure out what kind of tone you like and what you're working towards. And dont be afraid to juice the shoulders. He explained hammers are like tennis balls- they collapse a bit on impact, then spring back imparting a secondary force to the strings. Felt has to be springy while resisting wear. Juicing the shoulders can serve to reflect more of the impact back to the string. The force is controlled by loosening fibers between the strike point and the core by needling from the side. By the reason of the shoulders acting to reflect the spring force towards the srike point, the shoulders are not to be weakened by needling. We heard him demonstrate this- the difference was impressive. There was a range of opinions as to whether or not the change was good, a matter of taste. The subject piano had a new set of his hammers, and had a very clear and complex overtone klang, when compared with the steinway sets beside it, which was mostly fundamental in comparison. ---------------------- multipart/alternative attachment An HTML attachment was scrubbed... URL: https://www.moypiano.com/ptg/pianotech.php/attachments/39/c0/51/5b/attachment.htm ---------------------- multipart/alternative attachment--
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