Personal experience

But I would be inclined to think that it also adds a little resistance to the hammer's ascent... Or am I wrong?

What does Yamaha "C3.5" mean?

francescochopin90 wrote:

1 hour ago, francescochopin90 said:

But I would be inclined to think that it also adds a little resistance to the hammer's ascent... Or am I wrong?

I don't think so..

francescochopin90 wrote:

3 minutes ago, francescochopin90 said:

What does Yamaha "C3.5" mean?

The hammer action is the same for the C5..

It's an original Yamaha, right? Completely different from the Yamaha C3 that I owned.

francescochopin90 wrote:

1 minute ago, francescochopin90 said:

It's an original Yamaha, right? Completely different from the Yamaha C3 I owned.

It's an original, of course. It is from the recent CX model, European material and not impregnated.

I would like to make another consideration. Paolo installed conical hammer cloth dampers for the key bed (those white ones, very hard, of extremely high quality). Many pianists prefer the green ones because they are more elastic, being less hard and therefore more cushioned, especially on a strong stroke. From the very first moment I haven't found any problem; on the contrary, I feel a sensation of maximum precision. However, if many complain about a problem, it must be true and one must believe their opinion. I tried to perform a fortissimo and nothing. Then I noticed that I have always unconsciously cushioned the strong stroke with my wrist, which I never execute as a drop, but with a nice exhalation keeping the hand close. Well, maybe I understood the problem! I tried to perform a beautiful fortissimo chord applying what some masters tried to teach me (advice that went unheeded because it was based on an "aggressive" and unnatural approach): I tried to perform the forte with a generous drop from above. And there it is, the sensation complained about by most: the recoil was clearly felt, the energy returning towards the arm!!! Thus, my hypothesis was confirmed: a very high-quality damper, hard and conical, returns only USELESS ENERGY! And so, by adopting technical principles based on attacking the keyboard, which are unfortunately very commonly taught in conservatories, a cushioning damper comes to the rescue. When things work, the merits are amplified, but so are the defects!!! A piano that doesn't work does not highlight its own musicality, but at the same time covers up all the flaws!

Good evening! I am joining this discussion out of potential interest and curiosity... I should mention that I have a family Yamaha G3, a '72 all-original, and an '84 C5 in my studio, imported from Japan which I purchased recently. On the G3, perhaps after 50 years, the hammer felt should be replaced… do you recommend Abel natural (medium or hard?) or is there a way to obtain original Yamaha hammers?

The '84 C5 that I have in my studio has a hammer felt that looks new; however, the inscription "Yamaha c3.5" on the first hammer to the left, as in the photo posted in this discussion, suggests it might be original… is it? Is there a way to tell if it is recent, impregnated or not? The sound of the C5 tends towards warm, the instrument is not "screaming" like the G3 I own… eventually, mounting Abel natural hammers, Wurzen felt, or Yamaha from the more recent CX series on the C5, could that be an upgrade to consider? Not that there is a real need… but it's a bit like tuning up an engine. Why not?

I still need to consult with my trusted technician, but in the meantime, I wanted to test the waters and understand what can be recommended and what should be avoided instead. The idea of customizing the sound of one's own instrument is very fascinating… even if, on the other hand, these are potentially not painless experiments...

Thank you for your attention!

as I have already replied to you, it is difficult to choose from a distance. Your technician will be able to advise you well, understanding your needs and evaluating how the old hammer rail relates to the instrument and then choosing the new one. It should also be said that a slightly lighter hammer rail could create greater dynamics. However, this is not always possible. Everything also depends on the length of the lever, i.e., the key, and with the overall geometry of the action. Playing on a baby grand or a grand piano is different. One must also take into account the needs of the pianist and know how to customize, precisely, by trying to ....avoid pain!