Hi everyone. In a video tutorial, pianoexpert talks about how to adjust the damper mechanism based on the environment (for example, making them engage slightly later in case of "wet" acoustics or earlier if "dry"). However, this is a fine adjustment where the technician must calibrate the dampers one by one. I don't know if it's done, but I thought about intervening on the resonance pedal mechanism (we are talking about the grand piano and pianoexpert knows my Pleyel and its acoustic environment well). On the pedal lever below the keybed, there are two points where a small square of felt can be placed: one very close to the spring and one further away. Placing it near the spring only results in eliminating the pedal play, which is not good; placing it further away, however, leaves that play unchanged but slightly increases the overall resonance of the instrument, while at the same time without causing a lengthening of the sounds or lack of damping, but only a lightening of their pressure on the strings - I don't know if I am making sense. The result is an instrument that is slightly, but very slightly, more resonant and less dry. Is this something that is done? Is it "discovering hot water" [reinventing the wheel]? Or are there contraindications? I was thinking of applying this strategy every time I happen to play in particularly dry environments. I would also have the advantage of speed of application (two seconds) and complete reversibility without having to modify who knows what adjustment.
Mmmm I honestly don't know how well it might work. I am speaking specifically regarding sound aesthetics. Ambient resonance is functional to the number of direct sound reflections on the walls, and parameters also come into play regarding the ability of the material reflecting the sound to reflect it (Sabine Coefficient). With this kind of approach, you are prolonging the direct sound but you aren't doing anything at an ambient level, and by definition, the amount of "ambience" is obtained precisely through the effect of reflections that continue to be absent.
To the untrained ear, it might even be pleasing, but in my opinion, for those who have developed some sense of sound aesthetics, you also risk making the situation worse.
There is also another point to make... Subjectively, since you are in front of the piano, you will certainly benefit from it because you are the one most affected by the effects of direct sound both in very resonant environments and in dry environments, but I don't think those in the hall have such a beautiful sonic sensation.
Thank you very much Simone. In fact, I have also reached the conclusion that it sounds better without that felt strip. The sound remained dry as you said, but with a trail of harmonics (very slight) for a few brief moments afterward. There are pianos with very loaded soundboards that leave such a trail of harmonics regardless (and to tell the truth, even in an exaggerated way).
