Design and tone in the mechanoacoustic piano. Part I. Piano hammers and tonal effects

Journal of the Acoustical Society of America

Volumn 99, Issue 6, 1996, Pages 3286-3296

  Conklin Jr , Harold A ^a  

^a NONE   (United States)

Author keywords

[No Author keywords available]

Indexed keywords

ACOUSTICS; INSTRUMENT; PRIORITY JOURNAL; REVIEW; SOUND;

EID: 0030001502     PISSN: 00014966     EISSN: None     Source Type: Journal    
DOI: 10.1121/1.414947     Document Type: Review

References (59)

1. The Metropolitan Museum of Art, New York, NY 10028, The Crosby Brown Collection of Musical Instruments, 1889. Piano Forte (89.4.1219).
2. The Metropolitan Museum of Art, New York, NY 10028, LP Record MMA L1803: THE CRISTOFORI PIANOFORTE - 1720 (1978).
3. The Metropolitan Museum of Art, New York, NY 10028, LP Record MMA L1802: WINDS AND STRINGS (1978).
4. S. Pollens, J. Am. Musical Instrum. Soc. 10, 32-68 (1984) (America Musical Instrument Society, University of South Dakota, Box 194, Vermillion, SD 57069).
5. Reference 4, pp. 40-43.
6. THe Metropolitan Museum of Art, New York, NY 10028, The Crosby Brown Collection of Musical Instruments, 1889, Piano Forte (89.4.1219), Photograph: Negative No. 129116 B, "Detail: Action."
7. Reference 4, pp. 41-42.
8. G. A. Briggs, Pianos, Pianists and Sonics (Wharfdale Wireless Works, Bradford, York, U.K., 1951), p. 59 (photo of clamped set of moldings, felt strip, and lower caul).
9. For example, H. A. Conklin, Jr. and P. W. van Nuis, U.S. Patent No. 4,381,691, "Touch Force Adjustment Means for a Piano" (3 May 1983).
10. A. Askenfelt and E. Jansson, "From touch to string vibrations - The initial course of the piano tone," J. Acoust. Soc. Am. Suppl. 1 81, S61 (1987).
11. A. Askenfelt and E. Jansson, "From touch to string vibrations," in Five Lectures on the Acoustics of the Piano, edited by A. Askenfelt (Royal Swedish Academy of Music, Stockholm, 1990).
12. A. Askenfelt and E. Jansson, "From touch to string vibrations. I: Timing in the grand piano action," J. Acoust. Soc. Am. 88, 52-62 (1990); see also 90, 2383-2393 (1991) and 93, 1-16 (1993).
13. A. Askenfelt and E. Jansson, "From touch to string vibrations. I: Timing in the grand piano action," J. Acoust. Soc. Am. 88, 52-62 (1990); see also 90, 2383-2393 (1991) and 93, 1-16 (1993).
14. A. Askenfelt and E. Jansson, "From touch to string vibrations. I: Timing in the grand piano action," J. Acoust. Soc. Am. 88, 52-62 (1990); see also 90, 2383-2393 (1991) and 93, 1-16 (1993).
15. H. Suzuki, "Vibration analysis of a hammer-shank system," J. Acoust. Soc. Am. Suppl. 1 81, S83 (1987).
16. Reference 12, Fig. 9, p. 61.
17. T. Yanagisawa and K. Nakamkura, "Dynamic compression characteristics of piano felt," J. Acoust. Soc. Jpn. 40, 725-729 (1984) (in Japanese).
18. H. Suzuki, "Modeling of a piano hammer," J. Acoust. Soc. Am. Suppl. 1 78, S33 (1985).
19. D. E. Hall, "Piano string excitation in the case of small hammer mass," J. Acoust. Soc. Am. 79, 141-147 (1986).
20. D. E. Hall, "Piano string excitation II: General solution for a hard narrow hammer," J. Acoust. Soc. Am. 81, 535-546 (1987).
21. D. E. Hall, "Piano string excitation III: General solution for a soft narrow hammer," J. Acoust. Soc. Am. 81, 547-555 (1987).
22. H. Suzuki, "Model analysis of a hammer-string interaction," J. Acoust. Soc. Am. 82, 1145-1151 (1987).
23. D. E. Hall and P. Clark, "Piano string excitation IV: The question of the missing modes," J. Acoust. Soc. Am. 82, 1913-1918 (1987).
24. X. Boutillon, "Model for piano hammers: Experimental determination and digital simulation," J. Acoust. Soc. Am. 83, 746-754 (1988).
25. D. E. Hall and A. Askenfelt, "Piano string excitation V: Spectra for real hammers and strings," J. Acoust. Soc. Am. 83, 1627-1638 (1988).
26. D. E. Hall, "The hammer and the string," in Five Lectures on the Acoustics of the Piano, edited by A. Askenfelt (Royal Swedish Academy of Music, Stockholm, 1990).
27. J. P. Quitter, "Research and Development on the Piano," IRE Trans. Audio AU-6 (September-October), 96-103 (1958) (see pp. 101-102).
28. Reference 23.
29. References 17-19.
30. G. Weinreich, "Coupled piano strings," J. Acoust. Soc. Am. 62, 1474-1484 (1977).
31. G. Weinreich, "The Coupled Motion of Piano Strings," Sci. Am. 240 (1), 118-127 (January 1979).
32. G. Weinreich, "The coupled motion of piano strings," in Five Lectures on the Acoustics of the Piano, edited by A. Askenfelt (Royal Swedish Academy of Music, Stockholm, 1990).
33. For another example see Ref. 22, Fig. 4, p. 748.
34. Standard Rubber Hardness Tester, JIS Cat. #250-181 (diameter of contacting surface=1 cm) manufactured by: Shimadzu Seisakusho Ltd., 1 Nishinokyko-Kuwabaracho, Nakagyo-ku, Kyoto 604, Japan.
35. Wool Handbook, edited by W. Von Bergen (Wiley, New York, 1963), 3rd ed., Vol. 1 (Vol. 1 covers raw materials prior to manufacturing, including physical and chemical properties of wool, breeds of sheep, grading of wool, etc.).
36. Wool Handbook, edited by W. Von Bergen (Wiley, New York, 1969), 3rd ed., Vol. 2, Pt. 1 (Vol. 2, Part 1 covers the manufacture of woolen yarn and fabrics. It includes material on sorting and cleaning procedures for raw wool but is not otherwise relevant to felt making).
37. Wool Handbook, edited by W. Von Bergen (Wiley, New York, 1970), 3rd ed., Vol. 2, Pt. 2 (Vol. 2, Part 2 covers dyeing, finishing, carpets, felts, and testing. Sections of interest in relation to felt include Chap. 15, pp. 1075-1119, re: the manufacture of felts, both nonwoven and woven, and perhaps Chap. 16, pp. 1121-1214, "Physical and Chemical Testing").
38. N. Hyde, "Wool, Fabric of History," Natl. Geographic 173(5), 552-591 (1988).
39. F. R. Deitz, Das Intonieren Von Flugeln (Grand Voicing) (version in German, English, French, Swedish, and Italian, with 16 photos) (Verlag Erwin Bochinsky GmbH, Munchener Strasse 45, W-6000 Frankfurt/Main 1, Federal Republic of Germany, 1968).
40. A. Kuerti, "What Pianists Should Know About Pianos," Clavier (May-June), 12-19 (1973) (see pp. 17-19).
41. R. E. M. Harding, The Piano-Forte-Its History Traced to The Great Exposition of 1851 (Da Capo, New York, 1973), reprint of 1933 Ed., pp. 64-66.
42. H. L. F. Helmholtz, Sensations of Tone as a Physiological Basis for the Theory of Music (Dover, New York, 1954, Orig. Pub. Braunschweig, 1863), p. 77.
43. E. Brinsmead, The History of the Pianoforte (Singing Tree Press, Detroit, MI, 1969, Orig. Pub. Novello, Ewer and Co., London, 1879), p. 47.
44. S. Hansing, Das Pianoforte in Seinen Akustischen Anlagen (C. Laffert, Breslau, 1888), p. 92.
45. W. B. White, Theory and Practice of Pianoforte Building (Edward Lyman Bill, New York, no date, foreword dated 1909), p. 34.
46. S. Wolfenden, A Treatise on the Art of Pianoforte Construction (Unwin Bros., Ltd., Old Working, Surrey, U.K., 1975, Orig. Pub. 1916, reissued with Supplement, 1927), pp. 50-51.
47. O. Ortman, The Physical Basis of Piano Touch and Tone (Dutton, New York, 1925), p. 96.
48. A. Vant, Piano Scale Making (A.V. Vant, New York, 1927), p. 30.
49. A. Wood, The Physics of Music (Methuen, London, 1944), p. 94.
50. Reference 8, p. 37.
51. W. V. McFerrin, The Piano - Its Acoustics (Tuners Supply Co., Boston, 1972), p. 84.
52. S. Marcuse, Musical Instruments, a Comprehensive Dictionary (Norton, New York, 1975), p. 405.
53. E. M. Good, Giraffes, Black Dragons, and Other Pianos (Stanford U.P., Stanford, CA, 1982), p. 9.
54. W. E. Kock, "The vibrating string considered as an electrical transmission line," J. Acous. Soc. Am. 8, 227-233 (1937).
55. Ref. 21, p. 1914, "Conclusion 6," p. 1916.
56. H. A. Conklin, Jr., Lecture-demo. given at Piano Acoustics Conference, Steinway and Sons, New York, 20 May 1989.
57. H. A. Conklin, Jr., U.S. Patent No. 4, 674, 386, "Augmented Bass Hammer Striking Distance for Pianos" (23 June 1987).
58. See, for example, W. B. White, Piano Tuning and Allied Arts (Tuners Supply Co., Boston, MA, 1946), 5th ed., p. 45.
59. W. H. George, "The Partial Tones of the Struck String - Part I," Philos. Mag. 50(6), 491-499 (1925).