Action Geometry Consistency

[Bradley M. Snook]

Bill, could you please explain [again] why pianists will not notice the
discrepancies when they are placed in the key dip, but pianists will notice
them when they are placed in the blow distance? By how much do you vary your
key dip?

I'm not sure that I understood your example, let me try one:

-I set my key dip to .420"
-I set everything else to allow for an aftertouch of .038" (at 500 grams)
[or something like .050"- .060" with finger power]
-I progress through my regulation procedures and I end up with a note having
053" of aftertouch

If I wanted to store all that excess in the key dip I would need to raise
the key dip by .015"; there is a 1:1 ratio between key dip and aftertouch.
That is WAY too much don't you think?

Bill Ballard:
> I'm happier using finger pressure instead of deadweights. It allows
> me to feel the escapement and the compression of front rail felts.

I've tried the finger pressure method, the problem is that I don't find that
this method allows for any consistency in setting aftertouch; using
"deadweight" helps me setup a standard that I can use throughout the rest of
the instrument: more specifically it allows for superior timing of the
action.

In the end, however, I would feel much better if I could actually fix the
real problem at hand.


Bradley