This is a multipart message in MIME format ---------------------- multipart/alternative attachment The screw in the dag set the action in the correct spot according= to the cheek blocks. Once set he didn't have to use the cheek= blocks. Once done, turning in the dag screw brought the cheek= blocks back into the equation, i.e. they could be adjusted in= the future to move the action in....that's my take and I'm= sticking to it. David I. Original message From: Avery Todd To: College and University Technicians Received: Mon, 21 Mar 2005 14:57:47 -0600 Subject: Re: [CAUT] D complimented Roger, Some great suggestions. One question though. Why do you turn the= dag screws in after voicing. It seems like that would change the strike point where= you'd been doing the voicing. What am I missing here? Avery At 08:45 PM 3/20/2005, you wrote: Hi Wim, I'm happy every thing worked out for you. =3DD> Some suggestions that may be helpful to you. I have added Dag screws to the D's I look after. It makes voicing= a lot easier I can quickly push the action into position, and= not have to worry about cheek blocks and the sustenuto rod= giving problems. After voicing, I back the screws inwards a= quarter of a turn. I have a couple of pieces of laminated card, so I can depress the= pedal, and slip it at the bass end of the action. This will= give an accurate half pedal position, makes it easy to get= consistent voicing in this position. The thickness of the card= is half the thickness of the Agraffe holes. To get good contrast at half pedal, using the string marks on the= hammer for a guide. Chop stick needling tool, (single needle) = Insert needle 1-1.5mm directly into crown, vertical to molding,= and dead centre of string marks. I find it faster to reverse= the action into the action cavity. It is also more accurate,= than leaning over a larger concert grand action. Check half peddle voicing with card inserted at bass end. Chalk= mark the keys that require corrective action. I like to run= Chromatic scales at both pp and ff. Checking for evenness. Regards Roger At 04:34 PM 3/20/2005, you wrote: Today was the faculty recital on the D I've been discussing, and= the results were very favorable. This morning I spent an hour and half tuning and spot voicing the= piano, and at 1 PM met with the professor, where he pointed out= a few minor shift voicing problems. He did say he wished there= was a little more power in the 5th octave, but I pointed out= that it might make the piano too brittle. And besides, he didn't= want any changes at this point. After the recital he looked very pleased, and thanked me for the= work on the piano. This, for me, was a big relief. I had been= uptight about this for several weeks. (Ask my wife. She's been a= saint for putting up with me). Not only was the professor happy, guess who also showed up? The= critic who slammed my piano three weeks ago. Actually, he is a= good friend of mine, and I've worked on his piano. At= intermission we talked, and he said he thought the piano sounded= great. So, the bottom line, at least for now, is that the professor is= happy, the critic is happy, and that makes me happy. (I haven't= heard from the other piano professor, but I'll worry about that= some other time). Wim Willem Blees, RPT Piano Technician School of Music University of Alabama ---------------------- multipart/alternative attachment An HTML attachment was scrubbed... URL: https://www.moypiano.com/ptg/caut.php/attachments/2a/b8/84/0e/attachment.htm ---------------------- multipart/alternative attachment--
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