Ok, >2mm< distance from top of backcheck to bottom of tail when hammer is the 'drop' postion. Correct? Hmmmm ~< ;- | ~~~~~~~~~~~~~~ Jon Page Cape Cod. Mass ~~~~~~~~~~~~~~ more later . . .=20 At 04:35 PM 11/9/96 +0200, you wrote: >Dear Ed, and dear List(eners) > >I will gladly and very carefully repeat what I told here before. >Actually, it was like this: > >One day during my last course at the Piano technical Academy, I was busy with a CFIIIS. >My teacher, a fantastic! and very famous senior tuner/technician called Tsuji-San, gave me some instructions about the "making of tone" and tone refinement. >On that day he gave me a lesson about tone quality, how to improve tone through tuning and string adjustment. Then, afterwards, he sort of hesitated, started to smile and told me to find some tones that sounded softer or.. not as strong sounding as the rest. clear neh? >He then ordered me to pull out the action and put it on a nearby bench. >He >gently< pushed down one of the weaker sounding keys so that the hammer slowly made it's drop. plock...hammerdrop! >He kept the key pushed down.=20 >In that position the hammer is not checked by the backcheck but just resting on the bridge. >Now..he told me to look at the very lower end of the hammer tail and..at the same time at the very upper part of the backcheck. >He asked me this question: "how much space, how many mm.(darn euro's) is/are there between hammer tail and backcheck? I looked carefully, and told him I saw about say 4 mm space. >Then he took out a ebony hardwood pipe with a rectangular hole in it, he put the pipe over the backcheck and turned the pipe around to the left about two times. In other words: he screwed the=20 >backcheck up with to complete turns. get it? >Then he asked me again "how much space, how many mm. is/are there between hammer tail and backcheck? I looked carefully, and told him I saw about say 2 mm space. >Now, he told me to put the action back, readjust the turned up backchecks and also make sure that the hammers would not make the slightest contact with the backchecks.=20 > >(by putting one of your hands on the top of the hammers and with the other hand depressing the keys. If you push a little on the hammers while moving the keys up and down you might feel contact between backchecks and hammer tails so you know that you make the hammer check bigger. If you do this exactly right, the distance will be accurate and perfect {after allready having made a perfect regulation!}) > >Now my teacher asked me to compare the treated (formerly weaker) toneswith the rest: lo and behold!! They were just as strong!! >I asked him immediately: how can this be? what happened? He smiled, shrugged his shoulders and said that he could not explain. >He did tell me however that the perfect space between hammer tail and backcheck should always be >2 mm<. >I do not think that I can tell this event more clearly. This is exactly how it happened and I have used the trick many times. As long as there is enough space to make a change, you will have a result. Be careful! if the backcheck is too high on the metal thread and you make attempts to rotate the backcheck down, there is the possibillity of killing the thread and the backcheck. >So don't go too far, you will hear the wood groaning. >I have now explained my little story a couple of times. Everybody thinks that I am so stupid as not to have checked whether the hammer touches the backcheck!=20 >Allthough I look basically OK.. I am very dumb....but not that bad. >Check it out.=20 >If one of you can give a decent explanation, another mystery will have been solved and we will all blow the horns, raise our flags and receive shiny= medals! > > >> I am starting to wonder if I am reading this right. Voicing by >>backcheck? >>I have not been able to tell a difference in tonal strength or composition= by >>moving the backcheck to different positions, UNTIL I get it close enough= to >>drag on the tail as the hammer launches. Once clear of that, I find no >>difference in sound. =20 >> >> Might I respectfully ask that we are given a more specific= description >> than "the sound is stronger"? and under what type of play? I was once >>faced with a real repetition freak, only way he was happy was with the >>hammers checking way up by the string. The next teacher to use the studio >>complained about there being little power on fast repetitions. =20 >> Is it possible that the lost of power(tone, 'stronger sound', = whatever >>it is that is changing), is because there is a effectivly a very short= blow >>distance on all but the first note struck? >> >>=20 >> >>Best regards,=20 >>Ed Foote > > > >friendly greetings from:=20 > >Andr=E9 Oorebeek >CONCERT PIANO SERVICE >Amsterdam, the Netherlands=20 >email: oorebeek@euronet.nl > >=83 where MUSIC is no harm can be =83 > > > ~~~~~~~~~~~~~~ Jon Page Cape Cod. Mass ~~~~~~~~~~~~~~
This PTG archive page provided courtesy of Moy Piano Service, LLC