A440A@aol.com wrote: > Following a regulation class by Chris Robinson, I changed my regulation > procedures to produce a consistant aftertouch by varying the keydip after > hammerline and let-off were set. ( I set the let-off in the piano, as close to > the maximum string excursion limits as possible). > This procedure caused comments from several of my regular customers, they > all noticed an increased evenness to the concert pianos and recording pianos > that they were familiar with here. NOBODY noticed that the actual keydip was > varied by as much as .010" to do this. They just noticed that the action felt > more consistant. ( I know that under rapid pianissimo playing, the front rail > felts are often not touched, as the keystroke is not carried all the way to > the bottom. I have measured this). This way of setting keydip also takes any > inconsistancy in keylevel out of the equation. ------------------------------------ Odd. My experience has been just the opposite. I found that many of the pianists I worked with could not feel the subtle variations in 'aftertouch,' but more than a few could feel -- and were bothered by -- even slight variations in over all key travel. I.e., key dip. My practice was -- and is -- to remove as many variations in the action system as possible, that is, action parts alignment (including knuckles) and travel, felt and leather compliance's, etc. I want to end up with a dead even hammer line, jack position & escapement, key line -- you have to be obsessive about key level, including the sharps! -- and key travel, but let the 'aftertouch' vary slightly. The variation here is so slight that, under actual playing conditions, it is impossible to feel, even by the most sensitive finger. But overall action response is wonderfully even and uniform. Del
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