Blaine,
Both you and Jon are correct in assuming the squareness of the strike angle and hammer core to shank angle to deliver the best energy transfer, but both miss the most important issue – center of oscillation.
The loss of power transfer to the string and the strain on the flange is experienced when the tip of the hammer (string contact point) is not inertially balanced during the hammer travel. We all have experienced the "sting" in our hands when we hit a baseball that is too far out or too close to the "sweet spot". This sweet spot is the point on the bat (or hammer shank assembly) where the mass x speed is balanced on each side of the contact point – that is approximately 2/3 on a uniform rod. The logic is this; the outer regions of a bat are traveling faster than the inner (closer to the rotation point) portions of the bat. To balance the inertia, more mass is needed inward, toward the rotational point – because it is traveling slower. Less mass is need toward the outer point of contact because it is traveling faster. Physics 101
Cobrun,
No. the added mass of the shank near the flange has nothing to do with the "balance inertia", as I defined it – although it exasperates it. The added mass is simply a strength (stiffness) issue. If a shank is uniformly constructed, as evident on the hammer end, it would be too weak to sustain the necessary acceleration applied at the knuckle.
Also, my post was not comprehensive in explaining "center of oscillation" (aka, center of percussion). I would first state that the hammer/shank assemblies of both the upright and grand piano are far from obtaining the balanced inertia because of the "stuff" the hammer/shank assembly must negotiate around – in grands, the pinblock, in uprights the damper assembly. Certainly, the construction of a typical "clapper" of a bell is evident of balanced inertia. Notice that some well-balanced clappers have a small added mass located beyond the spherical mass that strikes the bell. This added mass is needed to balance the inertia on both sides of the contact point of the clapper. If one were to calculate the mass from the lower half (hanging bell) from the upper half (including the shaft) of the clapper contact point you would realize that there would be an inertia imbalance without that smaller added weight. Remember, the shaft is part of the balanced inertia equation.
Skipping over added minutia; to affect the ideal balanced inertia of a piano hammer/shank assembly, it would require a certain added weight on the outer portion of the hammer core center line and below (grand hammer description) the shank. The current typical hammer/shank designs cause the center of inertia to be traveling, not at 90°, which produces the maximum transfer of power, but approximately 5° off perpendicular. Additionally, that balanced offset sends a shock wave back down the shank where it is reflected back and forth between the hammer and flange. That is the "sting" I described with the baseball bat. This is why high-speed photography shows the hammer hitting the string several times when struck.
P.S. Wessel Nickel & Gross hammer shanks greatly reduce this off balance phenonium.
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Roger Gable
Gable Piano
Everett WA
425-252-5000
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Original Message:
Sent: 01-20-2021 00:29
From: Cobrun Sells
Subject: Educate the ignorant: squaring piano hammers?
Roger, so then are you saying the hammer shank must have more mass placed near the flange in order to balance out the mass of the hammer felt and core? Is that why grand hammer shanks flare out near the center pin from the shape of a cylinder to the shape of a rectangle?
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Cobrun Sells
cobrun94@yahoo.com
Original Message:
Sent: 01-18-2021 12:12
From: Roger Gable
Subject: Educate the ignorant: squaring piano hammers?
Blaine,
Both you and Jon are correct in assuming the squareness of the strike angle and hammer core to shank angle to deliver the best energy transfer, but both miss the most important issue – center of oscillation.
The loss of power transfer to the string and the strain on the flange is experienced when the tip of the hammer (string contact point) is not inertially balanced during contact. We all have experienced the "sting" in our hands when we hit a baseball that is too far out or too close to the "sweet spot". This sweet spot is the point on the bat (or hammer shank assembly) where the mass x speed is balanced on each side of the contact point – that is approximately 2/3 on a uniform rod. The logic is this; the outer regions of a bat are traveling faster than the inner (closer to the rotation point) portions of the bat. To balance the inertia, more mass is needed inward, toward the rotational point – because it is traveling slower. Less mass is needed toward the outer portions of contact because it is traveling faster. Physics 101
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Roger Gable
Gable Piano
Everett WA
425-252-5000
Original Message:
Sent: 01-18-2021 02:16
From: Blaine Hebert
Subject: Educate the ignorant: squaring piano hammers?
It seems to me that the most effective transfer of energy to a piano string would be with hammers that are perfectly square to the hammer shanks. Hammers that are canted or tilted to mate with the slanted strings of the tenor and bass (especially on smaller pianos) have a center of gravity that is away from their direction of travel and create strain on the hammer flange. This causes stress and eventually looseness in the hammer shanks.
Hammers that are square to their line of travel will strike each tenor and bass string at a different time or distance in their length. What effect does this actually have.. that is, what effect would taking a single hammer in the bass or tenor section and reboring it square instead of canted have (in reality as opposed to some imagined effect)?
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Blaine Hebert
Duarte CA
626-795-5170
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