>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, By grand action rebuilding I assume you are referring to replacing wippens, hammers, shanks, and flanges. By no means am I an expert in this arena, but if someone is replacing these parts, I can't imagine not using some form of weights and measurements in the beginning to make determinations with regards to friction, geometry, and mass relationships, whether the manufacturers', Stanwood's, Pitsch's, or anyone elses' method. If someone doesn't have practical experience and understanding of these relationships, the customer is going to lose out. One for instance is a used gram weighing machine that I have. It opened a world of discovery for me in exposing the differences in weights of things that I could never perceive with my hands. It is simply fascinating. And knowing those differences has helped me to achieve a relative degree of greater understanding of the forces at work in a piano action. By using some form of measurement system and having done enough grand action rebuilds, a person would gradually develop an accumulative set of experiences to obtain results with potentially less physical examination of what's going on in a grand piano action and a more intuitive understanding by feel and observation. Sometimes now, I just understand what a piano action needs done to make it more acceptable. Though I don't go through a thought process that I'm aware of, it certainly must take place, and that is based on all that has gone before. Keith A. McGavern, RPT Oklahoma Chapter 731 Oklahoma Baptist University Shawnee, Oklahoma
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