Ken Sloane rote, 1/20/96:
<<Here at Oberlin, we have experimented with different up weight/down
weight/friction range/lead position (close to balance rail or close to front
of key)/etc. combinations. >>
A very interesting story, that unleaded B keyframe, and it would seem a
corroboration of Ed McMorrow's approach. What I think we need now, and I toss
this out as a challenge to the people working in music dept's, is to have a
pianist try this sort of action for an extended period of time, not just a
"drop-by to try that no-lead action."
Would any of you be willing to enlist a pianist in a study whereby his studio
piano would have its keyboard unleaded, so that he would be spending a few
weeks (or even months) with such an action, as his main axe. ("Do you now
take this piano,in sickness and in health, for richer or poorer...") The
leads could be carefully stored, and at the point where the pianist decided
that he had seen what he would deem the "long-term effects" of pushing a high
balance weight action, they could go right back in. Or maybe one piano could
be set up this way and do a tour of the studios of several willing pianists.
Their own pianos would go on their sides or be made otherwise unavailable, so
that again the no-lead piano would be their main axe for a suitable length of
time.
What say, eh?
Bill Ballard RPT
NH Chapter, PTG
"There are fifty ways to screw up on tis job. If you can think of twenty of
them, you're a genius......and you aint no genius"
Mickey Rourke to William Hurt, in "Body Heat", discussing arson.
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