On Feb 17, 2009, at 11:09 AM, David Love wrote: > I find this system useful in the tenor and bass when keeping the > shoulders from becoming too rigid is a benefit or when the hammer > set is very soft and requires a stronger solution. I actually use it to fill out the core of the sound. (Once that is "fully inflated", you can make it bright or warm, but not until. When there is a soft note, one which sounds like it's trying to sing with a perforated lung (not to get too graphic), and when a quick filing doesn't show any promise, that's when I alter the meat-to-bone ratio (by moving the cross-over from flexible muscle to inert bone higher up into the interior felt below the strike point). Scott Jones had an apt description of the point when the core sound had been brought to full size, "like it's filling the inside of your head" (similar to a singer hitting the proper "head tone"). On Feb 17, 2009, at 11:09 AM, David Love wrote: > In the treble I find it’s not that useful or easy to apply the > solution without it creeping up over the crown anyway. There I > just wick it slowly in from the shoulders trying to get it to creep > under the crown before it creeps up to the top of the crown. That's shoulder work, which for me is different than molding point work. That's a good way of restraining shoulders, which I use when I want to move from warm to bright. On Feb 17, 2009, at 6:15 PM, Will Truitt wrote: > I have done enough doping myself over the years to know that a > hammer with very soft outer felt that is lacquered will sound > different than the same hammer that has been filed to get to some > harder inner felt and then lacquered, and it won’t sound as good. One thing which has always impressed me is the actual size of the "Burl of Power" as is spreads outward, perfectly round from the feed point (for me at the joint between the underfelt and the top felt). For something in the 4th octave, it might be 3/8" in diameter, and involving the inner third of the top felt. When this works (and I don't use it when it's clear it doesn't), the cross-over point has moved significantly, by an amount I might add which I'd not like to achieve from the opposite direction, by filing from the top inward. Filing usually doesn't remove more than 1-2mm at a time. On Feb 17, 2009, at 6:15 PM, Will Truitt wrote: > No contradiction to what you and David are saying, just a reminder > that this is part of the process too. Riebachatcha. Usually at the point I'm doing this, I've already eliminated filing as the "tool to grab". mrbl -------------- next part -------------- An HTML attachment was scrubbed... URL: <http://ptg.org/pipermail/pianotech_ptg.org/attachments/20090219/e752bfcd/attachment-0001.html>
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