No Power Yamaha Experiment.

[Roger Jolly]

Hi Bill,
           Some nice observations, kind of reinforces what ric and I have 
been talking about. And your Steinway O has a maple balance rail, vs the 
spruce/maple. so some what more stable. I think.   I have not noticed the 
kind of variance on Steinway's that I see in Asian products.

>But we shouldn't worry about this uncertainty, considering that the part 
>about lifting BRs which really has consequences, and immediate ones, is 
>the effect of this extra keydip/aftertouch on the action regulation. Maybe 
>in fact, aftertouch is going to be the fine tuner of the keyframe spring. 
>Which surprises me because I had been told at some point that inordinate 
>amounts of spring in the keyframe were a sign of ham-fisted/brained 
>regulators who should have regulated dip the proper way.

I routinely adjust after touch/dip from the glides, it's fast and 
effective.   The University will sure as hell not pay me to regulate grands 
season to season, nor do I have the time required. Knowing how, and when, 
is where the skill of our craft comes in.


>Maybe, if the action is put together well enough and the keyframe properly 
>fit at the front and back rails, the BR can be set at a certain extra 
>height above its free-floating amount (seasonable warp included), then the 
>keyframe will always come back to a standard amount of spring. If we use 
>this BR height as the basis for dip and aftertouch, then a few odd months 
>later, the glides can be used to bring the dip/aftertouch back to their 
>proper place. That of course assumes that blow is returned to its place. 
>(Aren't non-jagged hammer lines a blessing to work with in circumstances 
>like these.) Maybe, as long as we know how far this adjustment of BR 
>height is from the height we'd like to hold it to, this could be used to 
>touch up aftertouch on a seasonal basis.

The hammer line moves, but not enough to get panicky about.  It's called 
Catch 22.   Touch up the glides, and leave the hammer line.  Or do 
nothing.   mmmmm Thump, thump. adjust the glides.

>>There was a significant improvement in tone, particularly in the treble. 
>>Cleaner sounding and more power.
>
>This I'm curious about. Is this improvement in tone something similar to 
>that of finding the correct strike point? Is it a range which you enter 
>and then pass through? Did it seem to you that the improvement was best 
>found at a particular level of BR height?

Yes it is that dramatic.  I liked the mid point of compression.  (There you 
go ric)


>>Conclusion:  I think the key bedding was optimized.
>
>When you say "optimized", are you speaking generally of the bedding, or 
>are you referring to a particular setting of the glides?

I was referring to Yamaha glides.

The key, is developing the skills to use this adjustment with every 
tuning.   This I have been doing for several years, but the thread has 
heightened my awareness, and caused me to re think more analytically.  Now 
all I need is to carry a dial gauge, in my over weight kit.  Heck I am 
going to need a caddy before too long.

Regards Roger