Grand Action Work (Help)

[Charles Ball]

I have been following the recent postings regarding action diagnosis,
geometry, touch weight, etc. We are so fortunate, I feel, to have
individuals in our profession in possession of such extensive knowledge and
understanding regarding the physics of grand piano actions, and that they
are so willing to share their expertise with those, like myself, lacking in
a scientific background.

I have no doubt of the value of this information, nor of its potential to
enhance our professional lives. My problem, however, is that, even if I was
in possession of the engineering skills to understand and diagnose grand
actions in this manner, and in possession of the technical skills to
remanufacture actions accordingly, most of the circumstances under which I
work will not permit the time, money or resources to take such an extensive
approach to every problematic action I undertake to service or rebuild in
some manner.

For instance, at our music school (at the University of Texas at Austin) we
have nearly 300 pianos. Usually we have had difficulty finding the funds to
purchase the hammers and shanks & flanges needed for a action overhaul. Time
is also a restraining factor. Similar restraints exist in my private
practice--many of my musician clients are as impecunious as are many of us
technicians, and can ill afford a major remanufacturing of their Steinway
action.

A true panacea, or cure-all, for grand action touch weight problems can not
ignore all these practical considerations.

To get to my question: what are some practical steps I can take in the
course of a routine Steinway (for instance) grand action rebuilding to
minimize touch weight, repetition, and other common problems, in cases where
there are restraints in resources (i.e. technician skills, time, money,
etc.)? In other words, in situations more reflective of the real world.
(This is not to deny the importance of the ideal world, nor to despair of
striving for it whenever possible.)

Charles Ball