About after touch

[Joe And Penny Goss]

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Hi Calin,
Actually Hallet & Davis In the late 1800's made pianos ( upright for =
sure I have seen 3 ) that had agraffe on both string termination points. =
The bass strings had a kurf in the side of the agraffe on the bridge end =
and the agraff were drilled so that they alternated with a slight angle =
up then down as the stringcame out of the agraffe. The one that I =
restrung also dad the stickers pinned to the key and the action and keys =
came out as one unit. Another interesting feature was the jack springs =
pulled the jack rather than pushed it.
Oh yes, also the hammer flange had a screw to tighten and adjust the =
friction on the center pin. We still have the piano at the store , when =
it came in it looked like a dog had been chained to the legs. She was =
battered and brused but now a beauty.
Joe Goss RPT
Mother Goose Tools
imatunr@srvinet.com
www.mothergoosetools.com
  ----- Original Message -----=20
  From: antares=20
  To: Pianotech=20
  Sent: Thursday, November 11, 2004 10:32 AM
  Subject: Re: About after touch



  On 11-nov-04, at 3:19, William R. Monroe wrote:



    One other issue that I'm still not convinced is not part of it, is =
the jack to knuckle placement.  There is still plenty of room in the =
window to allow for more aftertouch, and thus more clearance of the jack =
from the knuckle, but I already have about .055" of aftertouch (measured =
by placing .055" of punchings on top of front rail felts and seeing that =
escapement just barely occurs when the key is depressed).  I hesitate to =
think that more aftertouch would be appropriate. =20



  One of the very great developments of our business here in Holland is =
the new front punching called "Grand Piano Punching".
  I have worked for years on this and we now offer this punching world =
wide.
  And why then is it so very nice one could ask?
  Because it has a fantastic homogenous density, but at the same time it =
is not too hard.
  It makes for a very sharp after touch, and thus for the sharpest =
regulation possible.
  As I said, it took me years to get this together, and it is even =
better than the Yamaha or Steinway punching because of its density and =
firmness.

  I wrote about this before : after touch should be =B1 0,4 mm, meaning =
that after drop, and after the landing of the hammer, we should be able =
to move the hammer up 0,4 mm by softly pressing the key. If you see no =
movement at all, you have no after touch. If you see a lot of movement, =
your front punching is too soft or you have too much after touch.... =
which is it?
  That's why you need to make sure that before you start a regulation, =
your front punching is of the right firmness.

  I will explain once more :
  A key is like a sea saw.
  Usually, we find an old car tire under both sides of the sea saw to =
soften the impact. Nevertheless, a little child sitting on the high end =
of the sea saw will bump upwards slightly because of the impact at the =
lower end.
  Now, if we take away the tires, the impact will be much harder and it =
will hurt the behind of the child coming down, but it will also cause =
the other child to almost get airborne, because the force of the impact =
is much stronger.
  That is the an analogy in regard to a more firm front punching : It =
causes a more intense transfer of energy and thereby creates a louder =
tone.
  Your regulation can be more precise, thereby giving you the maximum =
tonal output.

  I often ask a critical technician or pianist to listen to a particular =
tone and to feel its touch. I then exchange the front punching with our =
own front punching, and I ask the same person to
  listen and feel again. They always are flabbergasted by the result.

  friendly greetings
  from
  Andr=E9 Oorebeek

  "where Music is, no harm can be"

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