Setting Dip on the Bench

[David Skolnik]

David -

In the past I had borrowed someone's idea and installed a series of 
bench 'glide bolts', which allowed me to recreate the flex of the key 
frame without resorting to shims.  While quite accurate, I still 
would find the need to do some refinement at the piano. Currently I 
use a method similar to the one described by Ed Foote, but which, to 
clarify, involves transferring and retaining settings made originally 
in the piano itself, not created originally on the bench.
- carefully bed the frame (including checking back rail)
- establish key height of #1 & 88, using cut balance rail punchings
- use tape (gaffer's) to stabilize end keys, linking them to 3-5 adjacent keys
- using crowned straight edge and split punchings, set key heights of 
all C's (or B's & C's)
- regulate samples
- record / retain these samples on the bench, since any distortion 
occurring will affect samples and remaining notes equally.
- for bench level use a light weight (drilled out aluminum), one 
octave+ straight edge from sample to sample, gang taping to keys 
outside the octave being leveled to eliminate deflection of samples 
from weight of straight edge
- strip of masking tape along front edge of keyboard to mark for 
punchings to add (if using action-in-place instead of leveling weights)
- final in piano

Ed mentions crescendo punchings by which, I am assuming,. he means 
front punchings.  I agree that they make it  much easier to interpret 
and set precise dip, though I am still not sure I like the reduced 
cushion.  I am using them though.  I also need to get their balance 
punchings, which I have to believe will better retain a key level.

Good lighting, a comfortable chair,  some music (not the news), a 
glass of wine (unless it's before breakfast - things could be worse.


regards -

David Skolnik, RPT
Hastings on Hudson, NY



At 06:17 AM 7/12/2007, you wrote:

><< Does anyone have a reliable method of setting key dip (grand) on the bench
>so that it remains accurate when the action is moved back to the piano?  I'd
>sure love to retire from sitting down at eye level to the key bed.  >>
>
>Greetings,
>      I use the aftertouch priority method, and if I set the end keys of each
>section in the piano, then I can get very close by shimming on the bench to
>re-establish that dimension and fill in the middle of the 
>section.  HOwever, for
>top end work, I don't think there is a substitute for doing it in the piano.
>Especially when you are dealing with +/- .002" over the compression variable
>of the punching.   I do find that the crescendo punchings are favored by my
>customers.
>Regards,
>
>
>
>Ed Foote RPT
>http://www.uk-piano.org/edfoote/index.html
>www.uk-piano.org/edfoote/well_tempered_piano.html
>  <BR><BR><BR>**************************************<BR> Get a sneak peak of
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