Yes. After I thought about how short the distance is that the action moves sideways, I realized it was insignificant. If you were sliding it a foot, then maybe there'd be some wood-to-wood contact if it weren't a perfect arc, but for 1/3 of a hammer width, the glide bolts should do the job. --Cy Shuster-- Rochester, MN ----- Original Message ----- From: "Michael Gamble" <michael@gambles.fsnet.co.uk> To: <pianotech@ptg.org> Sent: Monday, October 20, 2003 9:29 AM Subject: Fw: Steinway key humping > Hello Cy > The S&S has these inverted mushrooms growing thru' the keyframe. This > minimises the friction. Agree? > Regards > Michael G (UK) > ----- Original Message ----- > From: "Cy Shuster" <741662027@charter.net> > To: "Pianotech" <pianotech@ptg.org> > Sent: Monday, October 20, 2003 4:00 AM > Subject: Re: Steinway key humping > > > > > > ----- Original Message ----- > > From: "Carl Meyer" <cmpiano@comcast.net> > > To: <pianotech@ptg.org> > > Sent: Sunday, October 19, 2003 7:57 PM > > Subject: Steinway key humping > > > > > > > I recall when I first heard that, I was impressed with that concept. I > > have > > > been now convinced that to misadjust to compensate for wear is not a > > logical > > > engineering decision. > > > > Thank you, Carl. It makes no engineering sense to me, either. Why not > > adjust letoff closer in the middle to adjust for hammer felt wear, etc. > etc. > > etc.? > > > > Is it the actual keybed that's crowned in Steinways? Doesn't that add > > friction to una corda shifting, or is it an arc of a circle and stay in > > contact the whole way during a shift? > > > > And if you do put a 2mm crown in the center, over how many keys do you > > spread it out: an octave centered on middle C, perhaps? Two octaves? > > > > --Cy Shuster-- > > Rochester, MN > > > > > > _______________________________________________ > > pianotech list info: https://www.moypiano.com/resources/#archives > > > > > _______________________________________________ > pianotech list info: https://www.moypiano.com/resources/#archives >
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