Thank you for the kind words Ron. And thanks for the practical key dip recommendations - that is what I was looking for. And as far as the bench VS. piano for regulation is concerned, I have another reason to regulate on the bench: the Newbie Embarrassment Factor. The action I have on my bench right now is about my 10th full grand action regulation job. And actually, besides my personal Boston grand, this 1972 4' 7" Aeolian grand action is the nicest action I have had in my shop (ponder that one for a moment - all you 20+-year experienced techs - feel the ground shaking just a bit?)! At this stage, when I start in on an action, I still have to stare at it for an hour or so, just watching how it works. I also play with it a tad and do a few basic action geometry measurements and touchweight measurements just to get a feel for what it is, why it is, how it works, and why it works as it does (or doesn't). And then I'll do things like I am doing on this one now - set the center section hammer line, regulate a few notes, find irregular requirements, not know what the heck to do, read about 10 old Journal articles, write to this wonderful list, say a few prayers, and try re-regulating the sample notes with about 10 different combinations of dip, blow, aftertouch, etc. to try and find something that works. Anyway, the point is that at this stage of experience, when doing what I consider to be a fairly complex task, I like to do it in the shop where I can get it right - even if I have to do it five times before I get it right. I absolutely understand the precision advantage of regulation in the instrument. Keep in mind the type of pianos I am working on these days! Monday night, I went to an appointment for an old upright Baldwin. Keys were out-of-level by a half-inch or so with their respective neighbors (how could they even play such a setup?)! Task - level keys and adjust lost motion (notes were not even going through letoff). Yanked all keys, vacuumed up (and scraped off) remnants of what was likely rail pin punchings, installed new backrail felt, new center rail felt punchings (no paper punchings at all) and new front rail felt punching with an 0.060" paper punching. As I was finishing putting the keys back in the lady said "Oh, my, those keys are wonderful now - I could not have imagined you could get them so level". I said "but ma'am, I haven't leveled them yet - all I did was put new felt on the keybed". She closed the discussion with "they are just perfect - thank you so much - now how much do I owe you!" I said "did you want to tune the piano?" She said "oh, is it out of tune? - It sounded fine to me" I did at least talk her into adjusting the mile of lost motion. Didn't get to even level the keys - "they were perfect!" - (yeah, right!) Didn't tune piano (likely had not been tuned in 30 years) - but of course, didn't really need it!!!!!!! I can hardly wait to have 20 or 30 years experience. I suspect that, while reviewing my lengthy rebuild waiting list of Steinways, Bechsteins, Mason & Hamlins, (hey, maybe even a couple Faziolis by then!), etc., it will be loads of fun to remember these early days of digging through rat turds and cockroach crap just to find that the reason the key was wiggling all over was that the center rail was eaten by termites! How does that song go - "These are the good old days......." This message of hope, futility and excuses brought to you by: (Remember the good old days?) Terry Farrell P.S. -- Now go back to voicing your almost impeccable Steinway D - it's probably that darn D4 again - repin the hammer flange - I've seen it before - I had it just right at 4.7 grams friction - but the little rascal slips back to about 4.2 grams friction - you can really hear the difference - totally disgusting - just screws up the whole piano - I don't even know how anyone could play this piano with D4 like that - and you might want to slip an 0.001" paper punching under the center of G#2 - you can really notice how low it is - screws up Rachmaninoff Piano Concerto #4 every time - horrible to even think pianos like this exist! Hmmmmm.................................Someday. ----- Original Message ----- From: "Overs Pianos" <sec@overspianos.com.au> To: <pianotech@ptg.org> Sent: Thursday, November 29, 2001 1:49 AM Subject: Re: Grand Regulation Compromises > Terry et all, > > >Thanks Kjell. 10mm equals about 0.394 inches. Believe me, I agree that the > >english system of measurements is quite a bit goofy. I was a scientist in a > >previous life and fully appreciate the simplicity and utility of the metric > >system. I also agree that regulation in the piano is best - but when you are > >starting out with a train wreck that needs repairs, etc., I like to do it in > >the shop. > > Well you sound like you are on the way to becoming a seasoned > technician Terry. Your observations are 'by and large' pretty astute. > By the way, hows that digital overhead image cooking? > > After years of regulating performance instruments, and taking note of > the preferences of a number of pianists, I have settled on a key dip > of 10.25 mm. I have found that a 10.5 dip will yield the occasional > "it's too deep" complaint, and vice versa with 10.0 mm. Obviously, > the center of 'public preference' has come about in part from the > individual's experience with a number of different instruments, but > setting the dip to a figure which will satisfy the greatest number of > pianist is to be recommended, provided that the action in question > will function well at that setting. > > You're onto it when you suggest that altering the blow distance is > the preferred variable for achieving the desired after touch. > Further, since most actions are set up with the jack/knuckle contact > well below the line of centres, bringing the strike up will generally > improve the overall dynamic performance of the action. > > It is also worth noting that the nominal factory settings won't > necessarily function properly in every case. Since an out of spec. > capstan line or action stack positioning will cause all sorts of > complications with regard to regulation. Therefore, it is always good > practice to completely regulate a few sample notes before plunging > into a full 30 hour reg, only to find that it won't function properly > when set to a factory standard. > > I'd also support those who have reservations about bench regulating. > At best, it will get you within the ballpark. This is fine if its an > action rebuild, where the first reg is basically to get the thing > playing. But for the final result, 'in the piano' is the way to > travel. > > Best, > > Ron O. > -- > ______________________________ > > Website: http://www.overspianos.com.au > Email: mailto:ron@overspianos.com.au > ______________________________
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