I feel relieved to read your post Ed. I was a little hesitant to respond because, even though I consider my regulation skills to be at a functional level, I do not consider them to be excellent/advanced. But what you describe is close to what I do. I have to admit that I have made up for most irregularities with dip. But I suspect you are spot on with your technique of splitting irregularities between dip and blow. That should indeed make things smoother. Thanks for commenting. Terry Farrell ----- Original Message ----- > Gregor writes: > >>I never regulate aftertouch but first > >> at all key height and key dip. For me, key dip is not negotiable in > >> the meaning of having a window of 9.5 to 10.5 mm but of course for > >> *all* keys the same. At least for the white keys. I accept small > >> differences for the black keys. > > Why do you accept small differences in some of the keys? > >>For me, aftertouch is not a measure to regulate but the result of all > >> the other regulating steps. If aftertouch is uneven, I correct it > >> with slight adjustments of let-off, but never of white key dip > >> (that is what I mean by *not negotiable*). >> > > I have found that artists a FAR more sensitive to let-off > irregularites than they are slight changes in keydip. If I had to alter > anything to > make the after-touch even while keeping the same key-dip, it would be the > blow! > But I submit that keydip is less important than aftertouch. > At the very top of the line regulation, I alter keydip AND blow so > that > aftertouch is identical. When doing this, I first set the keydip to a > static > value and make sure all keys are equal. If, with an consistant blow, I > have > unequal aftertouch, I will move the keydip as much as .010" and the blow > as > much as .060" from the predetermined specs. The effect of splitting the > difference like this,(between the dip and blow) is to make all the > irregularities > fall below the threshold of even the most sensitive pianists. > I have never seen any pianist notice .010" difference in keydip if the > aftertouch was even, but I have been called back for having less than > 1/16" > difference between let-offs, (Ronnie Milsap is able to tell instantly if > the > let-off is not exactly even, but he never noticed the slight difference in > dip.) > 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>The year's hottest artists on the red carpet > at the Grammy Awards. Go to AOL Music.<BR> > (http://music.aol.com/grammys?NCID=aolcmp00300000002565)</HTML> >
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