More dip in bass

[David Love]

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Phil:

It's the overall action ratio that will determine the difference in =
regulation from one end to the other.  We are assuming that all other =
things are equal.  Assuming they are, then the ratio in the bass end =
will be lower and require more dip or blow than the treble.  Assuming =
you don't want to reset the capstan line, you can compensate for this =
somewhat by increasing the spread between the wippen flange and the =
hammer flange as you ascend through the action.  The increased spread =
will lower the action ratio.  You might try a few samples in the treble =
first.  Shim out a couple of flanges by about a millimeter and regulate =
a few sample notes and check for equivalency in the bass (you can also =
recalculate the ratio itself on each end of the action and see if it =
isn't more equal).  It's not a perfect solution, but if you want the =
regulation to be equal and you don't want to reset the capstan line, =
this is an alternative to consider.

David Love
  ----- Original Message -----=20
  From: Erwinspiano@AOL.COM=20
  To: pianotech@ptg.org=20
  Sent: August 14, 2002 8:50 PM
  Subject: Re: More dip in bass


  In a message dated 8/14/2002 10:13:45 AM Pacific Daylight Time, =
fordpiano@earthlink.net writes:

       Hi Phil
       Personally I'd rather compromise the hammer blow and leave the =
dip consistently the same top to bottom. Use the after touch regulators =
(capstans) to accomplish this. It's easier to touchup the after touch =
doing it this way than futzing with paper punchings. JMHO.
      Dale


    My own personal feeling is that more keydip in the bass feels =
natural and I
    often set actions up like this.  Pianists who have given feedback =
have seemed
    to like the actions, but I've never done a direct A-B comparison =
between
    uniform keydip and keydip graduated from bottom to top to see if =
they prefer
    the graduated keydip.  Any thoughts about this?  Any feedback from =
pianists on
    this?

    Phil Ford





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