Ronsen Bacon felt

[Mark Potter]

David Andersen <david at davidandersenpianos.com> wrote:
  My only question with "soft" hammers is that my artist clients seem to need a certain kinesthetic "pop" when the note is struck to feel comfortable that the piano is projecting properly, and sometimes mellow, dark, more fundamental-sounding pianos, pianos set up and voiced in a "softer" mode, do not give that "pop" that makes the player feel good.
  Does that make any sense?
   
  David, et al -
   
  Makes perfect sense to me!
   
  This is an interesting, timely subject.  Three months ago I delivered a 1920's Mason & Hamlin BB to a rather large church on which I had installed, among other extensive work (including restringing), Abel Concert grand hammers.  I have to say that this piano projects better than any piano I have encountered in 30 years, with a very robust, lush, round tone.  It's just magnificent, when you are in the audience !  However, I had the occasion to perform on this piano this past weekend for a music showcase, and I must admit that from the player's standpoint, the piano lacks the presence that it projects to the audience.  Although I have not received any complaints from the 3-4 regular players there (and 2 of them are quite accomplished) it was very noticeable to me, and one of the other performers that evening mentioned it too.  
   
  This is not a hammer I consider overly soft, by any means, but that is the perception AS THE PLAYER.  I welcome any input as to how to remedy this quandry, as I am hesitant to make any significant voicing changes to a hammer that sounds so wondrous to the listener that is more than 15 feet away.
   
  Any ideas?  My first impulse is to do some more judicious shaping & fine sanding, as these hammers are rather generous in the amount of felt they offer.  Still, it would be a crime to alter this singing tone to any significant degree...
   
  Mark Potter
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