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Stanwood Piano Touch Weight Metrology

Stanwood Piano Touch Weight Metrology

Stanwood Piano Touch Weight Metrology™ [sc_embed_player volume=”50″ preload= “true” autoplay=true loops=”true” fileurl=”http://masterpianotuner.com/audio/_metrology.mp3″]

Watch this video on YouTube.

I was fortunate as a young man to be accepted into the North Bennet Street School (NBSS) Boston MA, Piano Technology Program by Bill Garlick the Piano Technology Program Director (department head) then at North Bennet. As all the good gifts we enjoy in this life I spent the following seemingly brief semesters among many talented young piano technology students at the North Bennet Street School which also included a then young David Stanwood, friend, colleague, and classmate that same year at North Bennet, technology program for piano. Stanwood is now also a long time North Bennet Street School Alumni.

Mr Stanwood, over many years, has placed a great deal of time and effort into his craft career and love for pianos.

This is about Stanwood Inovation Inc, Piano Touch Weight Metrology, a wonderful video presentation.

Mr Stanwood starts out by saying

My name is David Stanwood, President of Stanwood Piano Innovations.

Our shop is on Martha’s Vineyard, in the town of West Tisbury.
I’ve always had a passion for pianos, always loved pianos.

narration
David Stanwood’s passion for pianos lead him to question why even on some of the worlds best instruments the feel of the keyboard was sometimes inconsistent from note to note.
While training to be a piano technician at Boston’s North Bennet Street School Mr. Stanwood asked what could be done to improve pianos who’s actions didn’t feel right.

Stanwood
And the answer was, well-a – that’s not that easy.
So there really wasn’t an answer. That drove me to experiment and discover.

narration
The science of weights and measures is called Metrology.
Mr Stanwood’s quest lead him to develop a fundamental system and methodology for balancing piano action, something he called “the new touch weight Metrology.”

Stanwood
What was missing in pianos, was a metrology which explains the balance of piano actions in a whole way.

narration
Unlike a violinist who can carry his or her whole instrument on tour, the concert pianist must travel from hall to hall, playing on a variety of instruments, often with inconsistent playing action.

Stanwood
The equality of the mechanism of the piano can either act to support the pianist or it can act as a barrier to their art, and my quest has been to discover now what is the mystery in that mechanic of that keyboard what happens between the musical thought and the finger where it touches the key and the sound that comes out.
There’s a lot of stuff that goes on in this mechanism and that really shouldn’t be an issue for the pianist, they should have a thought and should be able to think it and express it in sound.

narration
The piano keyboard is a system of stepped weights. The hammers at the bass end are larger and heavier than the hammers at the treble end. The pianist expects the keys to feel consistent along the length of the keyboard much as we expect each of the steps in a stair case to be of the same depth and height.

Stanwood

Now a Pianist has the task not only to walk up and down the staircase but they have to dance up and down their stair case and do it artistically and do all these fancy things.

narration
The action for each of a pianos 88 keys acts in a series of movements much like a catapult, where the press of a key begins a rapid series of increasingly magnified movements through the key stick, the repetition or whippen, and the shank eventually catapulting the felt tipped hammer into the string. Engineers refer to this set of connected mechanisms as a folded beam.

Stanwood
Now here we have the analogy of the piano action which pivots, the main pivot is on the balance of the key, the finger goes down a little bit and the hammer goes up a lot. We have the same analogy the same pivot point, this goes down a little and that goes up a lot.

narration
Using one gram blocks to illustrate the balance beam analogy Mr Stanwood first weighs the hammer and shank mechanism a measurement called the strike weight.

Stanwood
..and ten grams out on the end, this would be the measurement of the weight of the hammer, and the way we would measure this in the piano would be taking the part off and actually tipping it and there we have ten point two grams(10.2).

narration
The process of weighing each component of each of the 88 key mechanisms continues with the whippen also known as the repetition.
It is followed by the key stick which is weighed by balancing it at it’s pivot point. This measurement is called the front weight.

Stanwood
We’ve measured the strike weight and that’s the weight out here – o k. We’ve measured the whippen radius weight. We’ve measured how far it is by measuring the ratio, playing the ten gram weight and seeing how it translates. We’ve measured the front weight by tipping the key on the scale, that would be this weight, o k. We’ve measured the balance weight by measuring up weight and down weight and averaging it by mid-point, that would be this weight.
We have an equation here that has one two three four five six variables. We’ve measured everything except one and thats how far out and thats the ratio.

narration
Mr Stanwood’s equation of balance is written as

balance weight + front weight = whippin weight x the key ratio + the strike weight x the strike ratio.

For the key mechanism measured here the formula would be

38 grams + 27.1 grams = 18 grams x .5 + 10.2 grams x 5.5

The primary use of the equation of balance is to fine tune and perfect the front weight, the variable that makes the key invisible to the player.
All of the data collected in the weighing of each of the 88 keys is then entered into the computer. The data is then analyzed to determine whether individual components should be made lighter by trimming or made heavier
by having weights strategically placed to achieve balance.

Stanwood
Now we’re gonna look at the Jordan Hall Piano, (at the computer) This is a Hamburg Steinway D
It’s a Jordan Hall, and this is the weight of the strike weight as from the factory (looking at the computer) and you can see that there’s a big bump, it gets very low here,
This is the ratio that we calculated using the equation of balance.
The next major component is the lead weight, that’s what you have to throw when you play the key and that can be measured by measuring the front weight where you tipped the key on the scale, erst the measurement of the front weight.

We added what’s called a whippen support spring so we use a combination of the lead weight and the spring and you can see that the effect is that we can use much less lead. So now we have a keyboard where the inertial weights (the stepped weights) are very uniform from step to step, no surprises.

The ultimate goal in the piano action is to really make the mechanism disappear, and have the hammers in your fingers – I mean that would be the ultimate goal, just not even think about the fact that there’s five thousand parts in between you and your performance.
You can just feel like you are right to it.
Connected to the hammer, that’s what we’re after here.

For more information

Contact

http://www.stanwoodpiano.com/

Watch this video on YouTube.

MONSTER’S BALL

MONSTER’S BALL

MONSTER’S BALL [sc_embed_player volume=”50″ preload= “true” autoplay=true loops=”true” fileurl=”http://masterpianotuner.com/audio/End Title.mp3″]

Watch this video on YouTube.

Music For the Film Monster’s Ball

Composers Asche & Spencer discuss the Process…

In a fascinating open discussion alternating comments, the composers as well as the editors make comments on the hand in hand process of composing and editing the soundtrack for the film Monster’s Ball.

Marc Spencer said a lot of people don’t hear the music in films actually, that the score, the underscore, uh, because it should be very subtle, it shouldn’t be in your face. It should be in your subconscious, because once it is in your face, then you realize it and that’s a bad thing because in a sense you shouldn’t realize the camera and you shouldn’t realize the images. You should realized anything that…you just should ..all you should do is be part of the story.

Composer Thad Spencer said when we first read the script for the film and met, we had, varied ideas about what musical styles would work and what we wanted to do, but one theme that ran throughout all the ideas was that it had a very ambient texture, well, in pursuing that broad range of ideas, we decided that the best thing to do would be to limit our instrumentation, to actually use certain instruments and to only those instruments and not expand outside of those instruments, thus giving all the music a very minimal and all important feel.

Composer Richard Werbowenko said the majority of the instruments you hear are processed acoustic instruments (e.g. piano) or guitars, there are a lot of electric guitar textures that are put through different amplifiers, delays, reverbs, modulation effects to kinda create something that really has a long, kinda ‘drifty’ quality without it sounding the same.

Chris Beaty said we really stretched an event for what song we had… as far as we could stretch it and once you get it then, stretched like that, it’s hard to tell what they are.

I think the most complicated aspect of this was creating a style of music that didn’t draw a lot of attention to itself but gave a lot of meaning. ( movie clip shows Thorton saying “bye Pop” moving to get dressed.)

Having multiple composers was a real positive thing for the film. The three of us really bounced ideas off of each other.

If you were in a position where you were, got to a certain point on a piece of music and maybe wondering is this even any good, you could always draw one of the other composers into your room and ask “what do you think? is this horrible ? is this any good?

We all wrote different Ques we all -uh- helped each other perform and -uh- kinda conceptualized different Ques.

If there’s constant dialog between the people writing and uh, uh, true collaboration it works really well.

One of the designs of the music was to carry you through this and give you a sense of a persevering spirit, without necessarily saying every thing’s going to be o k and instead it was more something you could ride on through the whole film and it could help deliver you to a place that was more inside people and less about all the material things and crap that could happen to them.

The first place that you have to start is uh, you know, what is this scene saying, what is this scene really trying to emote, and whats the most subtle way to support what the scene is actually trying to express

Re-recording engineer Rick Asche said what I noticed here more than anything else and I was very happy about was that the music sorta played the over all theme of what the scene or that arc of scenes was doing so that we as a viewer actually got to understand a much bigger and broader picture of what’s going on with these characters.

If I’m totally reaching to music all the time then the music just becomes like emotional finger painting, as opposed to something that can hold water.

Overall I saw the film was very quite for me. I saw a lot of silences a lot breathing room in the film so the music only would come in, uh , in certain places, which would elevate and interrupt those silences in a very beautiful and emotional and magical way.

A lot of the music was written before the images were available to us, based on the script that we read, and, I’m really glad that we went about it that way, in that we weren’t always reaching to what was on the screen all the time, instead, it was the over all emotion that we got from reading the script.

When you don’t have to worry about an edit schedule or a specific timing, so your just allowed to write music very freely based on what you feel emotionally is gonna be happening in different parts of the film and then that music is simply delivered to the editor and director and they can sift through it and find what they like.

So it’s sort of hand in hand process between composer filmmaker and editor

Composer Matt Chesse’ said I started out with a bunch of their music that I, you know, that I laid it throughout the film, then I laid the film on them and let them absorb the mood with their score worked in there, but a lot of places were open for interpretation.

There’s a point at the end of the film where Latesha (Halle Berre’s character) comes into the kitchen and shes just found out that Hank (Billy Bob Thornton’s character) had a hand in executing her husband but we don’t know how upset she is

(All three together) you see the cameras doing this kinda slow pan thing (there we go) here we go , wait because he doesn’t even…starts to.. here we go, here we go… starts to creep in now…

Needed to support this tension, we didn’t want to point anybody…. in any particular direction

as to how they should feel.

All watching together again someone mutters “it’s cool” then plays guitar “maybe something like that?”

The end of the film gives people some resolve and the score definitely does that too. To the point that the end it’s a very simple melody. It’s giving you that little bit of hope, that little bit of resolve.

It’s important for us to come at that moment very artfully.

It was an opportunity for emotions in the film to stretch a little bit and so, it was also an opportunity for the music in the film to stretch a little bit.

The music in the score incorporates so much poetry on it’s own.

And that was,you know, that was our goal all along so you wouldn’t walk out of there singing the Monster’s Ball melody, but that you would, you know, remember the mood you got from it.

Directed by | Jon Baugh

Thanks to

Marc Forester

Matt Chesse’

Joel C. High

Rick Asche

Vine St Studio

Asche & Spencer

Chris Betty

Than Spencer

Richard Werbowenko

Bob Demaa

Chuck Statler

Soundtrack available on | Lions Gate Records

www.monstersballfilm.com

WORLD

WORLD

[fve]http://www.youtube.com/watch?v=CpjKPy64NpM[/fve]

World

All around me are familiar faces Worn out places, worn out faces

 

Bright and early for their daily races Going nowhere, going nowhere

 

Their tears are filling up their glasses No expression, no expression

 

Hide my head I want to drown my sorrow No tomorrow, no tomorrow

And I find it kind of funny

I find it kind of sad

The dreams in which I’m dying

Are the best I’ve ever had

I find it hard to tell you

I find it hard to take

When people run in circles

It’s a very, very

Mad World

Mad World

Children waiting for the day they feel good Happy Birthday, Happy Birthday

 

And I feel the way that every child should Sit and listen, sit and listen

 

Went to school and I was very nervious No one knew me, no one knew me

 

Hello teacher tell me what’s my lesson Look right through me,

look right through me

and I find it kind of funny

I find it kind of sad

The dreams in which I’m dying

Are the best I’ve ever had

I find it hard to tell you

I find it hard to take

When people run in circles

It’s a very, very…

 

 

 

 

Enlarging your world

Mad World