About after touch

[antares]

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Hi David Ilvedson,
Tell me your address and I will send you a sample.
Since these front punchings are conical, make sure that the smaller=20
side is up (it does make a difference, though subtle).
On any instrument, find a weaker note. try to imprint how it feels and=20=

how it sounds, than exchange that punching,
You 'll be amazed, like so many others.

Andr=E9 Oorebeek

On 12-nov-04, at 1:54, David Ilvedson wrote:

> Made by who?=A0 You?=A0 I'dl like a sample...
>
> David Ilvedson
>
> =A0
>
> =A0
>
> ----- Original message ---------------------------------------->
> From: antares <antares@euronet.nl>
> To: Pianotech <pianotech@ptg.org>
> Received: Thu, 11 Nov 2004 18:32:09 +0100
> 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=20=

> jack to knuckle placement.=A0 There is still plenty of room in the=20
> window to allow for more aftertouch, and thus more clearance of the=20
> jack from the knuckle, but I already have about .055" of aftertouch=20
> (measured by placing .055" of punchings on top of front rail felts and=20=

> seeing that escapement just barely occurs when the key is depressed).=A0=
=20
> I hesitate to think that more aftertouch would be appropriate.=A0
>
>
>  One of the very great developments of our business here in Holland is=20=

> the new front punching called "Grand Piano Punching".
> I have worked for years on this and we now offer this punching world=20=

> 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=20=

> is not too hard.
> It makes for a very sharp after touch, and thus for the sharpest=20
> regulation possible.
> As I said, it took me years to get this together, and it is even=20
> better than the Yamaha or Steinway punching because of its density and=20=

> firmness.
>
> I wrote about this before : after touch should be =B1 0,4 mm, meaning=20=

> that after drop, and after the landing of the hammer, we should be=20
> able to move the hammer up 0,4 mm by softly pressing the key. If you=20=

> see no movement at all, you have no after touch. If you see a lot of=20=

> movement, your front punching is too soft or you have too much after=20=

> touch.... which is it?
> That's why you need to make sure that before you start a regulation,=20=

> 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=20
> soften the impact. Nevertheless, a little child sitting on the high=20
> end of the sea saw will bump upwards slightly because of the impact at=20=

> the lower end.
> Now, if we take away the tires, the impact will be much harder and it=20=

> will hurt the behind of the child coming down, but it will also cause=20=

> the other child to almost get airborne, because the force of the=20
> impact is much stronger.
> That is the an analogy in regard to a more firm front punching : It=20
> causes a more intense transfer of energy and thereby creates a louder=20=

> tone.
> Your regulation can be more precise, thereby giving you the maximum=20
> tonal output.
>
> I often ask a critical technician or pianist to listen to a particular=20=

> tone and to feel its touch. I then exchange the front punching with=20
> 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"
>
>
friendly greetings
from
Andr=E9 Oorebeek

"where Music is, no harm can be"

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