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Hi Andre,
We play from the same page and have the same philosophy=20
toward regulation. Wonder if the YTA had any thing to do with it?
The tight specs you refer to, cannot be attained in a one pass=20
regulation. So we do not confuse some readers. The 1mm clearance that I=
=20
referred to as being ample will suffice. To Attain the tolerances that=20
Andre is the complete regulation procedure has to be done approximately 3=20
times.
My definition of after touch is. Lost time and lost space. There has=
=20
to be some, any extra is a waste.
Like you I am anal about the quality of front rail punching's. I take it a=
=20
step further, and make sure the card and paper punching's are kept to a=20
minimum, to reduce the concertina effect.
On concert pianos I have a trade mark of a blue punching under the felt=
=20
).010" this way I can increase the after touch very quickly at a pianist=20
request, with out messing with the hammer line.
I hope this clears up my position. I am in 100% agreement with you Andre.
After touch, transmits more about the soul of a piano, to the pianist than=
=20
we can ever imagine.
Thank's for your wonderful contributions Andre, they are greatly valued.
Regards Roger
At 02:28 PM 3/29/2004, you wrote:
>>----- Original Message -----
>>From: Roger Jolly
>>To: Pianotech
>>Sent: 3/29/2004 7:45:00 AM
>>Subject: Re: Jack to knuckle position
>>
>>Hi Julie,
>>
>> 1mm with out the front rail punching starting to become=20
>> depressed, will give a generous amount of after touch.
>>The front rail punching, enters into the equation big time. After touch=
=20
>>within limits is a personal preference.
>>So no black and white answer to the question.
>>
>>With a smile on my face: Depends on which way the nap=20
>>lies?????? mmmmmmmmmmmm
>>
>>Regards Roger
>>
>>
>
>
>After touch is a rather important issue.
>
>I personally think a seminar of certainly 2 hours could be done about this=
=20
>subject.
>
>Why?
>
>Because after touch determines touch and sound.
>After touch is a safety measure.
>Too much after touch is a waste. Too little after touch, a deficiency and=
=20
>a nuisance.
>Why?
>
>When we regulate an action correctly, we have to obey certain rules, like :
>Regulation starts with the keyboard.
>The keys usually all must have a key dip of 10 mm (except for regulation=20
>rules defined by some 'idiots' (like Steinway, Pleyel and Bl=FCthner) who=
=20
>were of a different opinion. (smile...... (; >)) )
>Key dip relates to hammer striking distance as, roughly speaking. 1: 5=20
>(usually a little less in the striking distance)
>
>This means that with a very strict key dip of 10 mm, we may expect a=20
>hammer striking distance of a little less than 50 mm.
>Both Steinway and Yamaha supply us with a striking distance gauge of 46 mm=
=20
>as an average (and thus more or less correct) striking distance.
>Normally speaking, 46 mm should be in accordance with a key dip of 10 mm=20
>or even slightly less (9,8 mm).
>Most actions will satisfy these demands and give us a general ok result.
>However, sometimes, an action may have just a little trouble maybe with=20
>these measures in one or two hammer sections, caused by the iron frame or=
=20
>otherwise) and this will have to alter the striking distance of these same=
=20
>hammer sections.
>These alterations are mainly caused by the curvature of the soundboard and=
=20
>the iron frame, or a technical deficiency in the action or the key bed.
>To get the utmost out of any action, we must strictly follow the universal=
=20
>regulation instructions and then... check the possibilities and/or=20
>limitations of these actions.
>After we have regulated an action 'according to the rules we have=20
>learned', we could check the amount of after touch in different sections=20
>of the action.
>We do this by gently depressing 'a' key and following the subsequent=20
>hammer movement through let off and drop.
>After the hammer has gone trough the let off and 'drop' movement, the key=
=20
>will immediately afterwards rest on the front rail punching.
>After the key has touched the front rail punching, we should gently press=
=20
>on the key and see if there still is a movement in the hammer.
>
>By gently pressing the key after all the action movements, we should be=20
>able to move the hammer in an upward motion by 0,4 mm.
>0,4 mm is very little, but when the front punching is too soft, an after=20
>touch of 1 mm or more is no exception.
>For that reason, we MUST remove a too soft front punching before we start=
=20
>regulation.
>There are several very good front punching options available :
>There is the Yamaha front punching for serial instruments and for Yamaha=
=20
>concert instruments, there is Steinway front punching, and there is Wurzen=
=20
>front punching.
>These three have a thickness of 5mm basically and are excellent for any=20
>piano.
>
>When we are certain that the front punching is of excellent quality (this=
=20
>is of course very important) the after touch can be measured very=
accurately.
>Any after touch of more than 0,4 mm we call a 'soft landing'.
>A soft 'landing' is caused by :
>
>a too soft front punching (the key sinks into the too soft front punching=
=20
>too much)
>A too large key dip (the key dip is too big in relationship with the=20
>striking distance)
>A too short striking distance (the striking distance is too little in=20
>relationship with the key dip)
>
>A perfect l'anding' is an after touch of 0,4 mm.
>
>A hard 'landing' is almost no after touch or no after touch.
>
>A hard 'landing' means that we move key, wippen and hammer through all the=
=20
>playing motions without any lost motion. There is no extra movement in the=
=20
>action available.
>
>A hard 'landing' is actually the very best solution because there is no=20
>waste of time, and no waste of energy, but at the same time it causes a=20
>danger for the pianist when he/she plays ppp, because, when there is no=20
>extra movement available, it may cause the jack, in extreme circumstances,=
=20
>to not quite go away from under the knuckle and thereby cause the hammer=20
>to bounce on the jack (especially when the repetition spring is tight, or=
=20
>when the combination hammer-and-backcheck is not optimal).
>
>In that case, a so called free movement of the jack after let off and drop=
=20
>is essential.
>
>
>friendly greetings
>from
>Andr=E9 Oorebeek
>
>Amsterdam -
>The Netherlands
>
>0031-20-6237357
>0645-492389
>0031-75-6226878
>www.concertpianoservice.nl
>www.grandpiano.nl
>
>"where music is, no harm can be"
>
></blockquote></x-html>
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