On Mon, 5 Aug 1996, Jim wrote: > The problem that I face often is that, since I usually do the voicing > last, if I have to do any deep shoulder voicing in the treble, it causes > the hammers to lengthen slightly so that the hammers will block on a > pianissimo blow using a soft stiff fingered attack. Then I have to go > back over the let-off to correct that and then recheck after-touch etc. > > I would like to know some of the experiences of others in regard to this. > Jim Coleman, Sr. (AZ) (who still doesn't know it all.) Jim, I've experienced the same problem, along with the problem of having the let-off change with humidity and with compaction of the recently moved let-off punching. For these last two reasons, I began setting let-off just a hair below the optimum point you describe in your post (as high as possible without interfering with the string's vibrational envelope). For consistency, I take it to that optimal point first, then back it off about 1/4 turn. The other thing I've noticed is that perfecting the relationship between drop and let-off is probably more important than having the let-off at the "optimum" point. I set drop so that, with the key fully depressed, the hammer rises (during aftertouch) to the point of let-off. Regarding hammer voicing and let-off, I decided a few years back that I was having to reshape too many hammers that I had already reshaped and then deep needled. The deep needling altered the hammer shape in some cases to the point that I had to reshape. So I switched to doing the bulk of my deep needling before filing. Of course, there's always needle work to do afterwards, but this order minimizes the amount of deep needling and (hence) re-reshaping of hammers and re-setting of let-off that have to be done. By the way, congrats on the Golden Hammer award. You truly deserve it, and as someone at my banquet table said, "This was long overdue." Thanks for all the help and inspiration you gave me when I was fresh out of school. Steve Brady, RPT Seattle, WA
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