Force pulses and residual shock spectra of voiced, unvoiced (soft), and used (hard) piano hammers are compared. The peak frequency f(max) of the residual shock spectrum is related to the frequency range over which the hammer will be most effective in exciting string modes. Hammer speeds of 1 to 6 m/s, used in these experiments, span the normal dynamic range of the piano. Peak force is related to pulse duration an d also to a nonlinearity exponent in the equation relating force to compression of the felt. For lower notes on the piano, f(max) is well above the fundamental frequency which helps to explain the dominance of higher partials in the bass notes. At the treble end, however, f(max) is comparable to the fundamental frequency, resulting in a strong fundamental and few partials in these notes on a piano. In addition to its usefulness in piano research, the residual shock spectrum could serve as a useful guide in the production and voicing of pianos. [References: 24]
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机译：比较了有声，无声（软）和用过的（硬）钢琴锤的力脉冲和残余冲击频谱。残余冲击频谱的峰值频率f（max）与锤子在弦弦模式下最有效的频率范围有关。这些实验中使用的1到6 m / s的音锤速度跨越了钢琴的正常动态范围。峰值力与脉冲持续时间有关，在与力相关的方程中还涉及非线性指数。对于钢琴上的较低音符，f（max）远高于基本频率，这有助于解释低音音符中较高部分的主导地位。然而，在高音端，f（max）与基本频率相当，从而在钢琴上的这些音符中具有很强的基本音色和很少的部分音色。除其在钢琴研究中的有用性外，残余冲击频谱还可以作为钢琴生产和清音的有用指南。 [参考：24]
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