Monday, August 31, 2009

Dampers

Dampers are installed after the preliminary voicing, as it is easier to see the quills without them.

Dampers come in the form of a strip of felt about 1 cm wide and several feet long. A portion is pushed into the damper kerf of the jack and cut off from the back, leaving the damper a bit long. To determine the correct length, the damper is trimmed from the front while the register is in the off position (i.e. further from the string). If the damper sits on the string in this position, it will also work in the on position (closer to the string).

It's important that the dampers not be excessively long in the off position; otherwise, when the register is turned on, the damper may reach past its own string and damp a neighbouring one. This also means the register's off position cannot have the plectra too far away from the strings, otherwise by the time the register reaches the on position, the dampers may be too close to a neighbouring string.

I'm using so-called flag dampers, which are more or less square in shape and flat along the bottom edge. These dampers allow the jacks to hang slightly from the strings, which makes transposing the keyboard easy. If the jacks actually sat on the keys, the resulting weight and friction might interfere with transposition.

The bottom edge of these dampers should be just slightly above the tip of the plectrum. This little bit of slack keeps the action reliable during changes of humidity.

1 comment:

Dominic Eckersley said...

Perhaps using historically shaped dampers would resolve the repetition problems. Angling the lower edge to about 45 degrees stops both the vertical and horizontal oscillations of the string, both damping more effectively and also allowing the choirs to resonate when off (which is historically what happened). Using a soft and resilient cloth makes maintaining them all the easier. Given the angle of the lower edge the jacks are also persuaded to rest at the back of the register slots causing all jacks to behave consistently. I am also a professional harpsichordist who voiced instruments to pay his way though college (back in the early 80's). I used flag dampers for many many years but changed to historical dampers about five years ago. The transformation in tone (with all the nasty upper partials damped) and, surprisingly also the touch--due to the consistent approaches of the quill to the strings--completely changed my instruments for the better. Although flag dampers do make transposing easier (which I almost never need to do, as I am generally needing only 415 Hz) but the disadvantages of modern flag dampers far outweigh the advantages. You will be surprised at how much better historical dampers actually dampen and allow for better repetition, especially in the bass. There is also virtually no precedent for modern flag dampers in old instruments. I cut not only the lower edge but also the upper away from parallel to the soundboard. Some used to cut curved dampers, others with simple angles, which is what I use. Hubbard's book shows a curved damper in the appendix. It's certainly worth a try. I certainly never looked back! I'd be happy to discuss this further with you, if you wish.

Best wishes,

Dominic Eckersley

eckersley@me.com

www.dominiceckersley.com
www.newamsterdambaroque.com