Hi Ed, Do you mean that you sometimes add or remove a thin front punching here or there, when regulating the after touch at the crucial moment of hammer distance fine regulation? I've sometimes found that even if my let off distance and key dip are perfectly set (at least I try to ;-) on every note, by the time of fine hammer blow regulation, I sometimes feel that a paper punching has to be removed on some notes to get exactly the same aftertouch everywhere. When pressing this particular key with its neighbour and comparing the height of the keytops with my finger when the keys are down on their front punchings, I can feel this paper removal creates a small difference, but this difference is required if I want to have a perfect aftertouch with my even let off and hammer blow regulation. I would not say I do it all the time, but I sometimes do. This week I checked the regulation of the Yamaha S6 we rent for concerts here, and when refining the regulation of aftertouch, I removed 1 blue punching (the thinest ones from Yamaha) on - let's say- 3 or 4 keys to get what I wanted. What do you think about this? Quentin Ed foote wrote: Inre aftertouch, increasing depth has much the same effect as raising hammer height. I believe that your occasional mushy note on a Steinway is due to manufacturing tolerances being so poorly controlled. Variables in these actions are due to the placement of the balance pin and/or capstan, the whimsical consistancy of the cove cuts on the flanges, poorly drilled action rails, knuckle placement and dimesions that are often no more than distantly related to their neighbors, keys with binding balance mortices, and all the other things that make this the "standard" piano of the world. If you are setting dip by direct measurement of the key depression, you also will have any key height variances added to the overall effect. I set dip by aftertouch priority method, and whereas the typical Yamaha, Kawai, Bose, Bech, etc. piano will have virtually the same key dip for identical aftertouch, the Steinways are all over the place. That is why on high level Steinway regulation, I find that the best feel comes when the inconsistancies are split between keydip and hammer blow. I allow a .008" variation in key dip before I raise or lower the hammer to achieve the same aftertouch. This leaves a hammer line and keydip that is slightly irregular, but an extemely close aftertouch consistancy. Artists are able to judge the consistancy of aftertouch a hell of a lot closer than they are to the actual amount of key travel, and their reaction to an aftertouch priority regulation has supported this. Regards, Ed Foote RPT http://www.uk-piano.org/edfoote/index.html www.uk-piano.org/edfoote/well_tempered_piano.html -------------- next part -------------- An HTML attachment was scrubbed... URL: https://www.moypiano.com/ptg/pianotech.php/attachments/20061105/40568378/attachment.html
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