Wim, You talk about seating and lifting on the speaking length. Have you done the same on the none speaking length between the agraffes and tuning pins? It's pretty easy to check one unison in the agraffe section to see if it makes a difference. And the nice thing about it is you don't have to relevel the speaking length <g>. It adds focus in both the V-bar and agraffe sections. Use a string hook and pull up while sliding it back from the agraffe. Remove the action and lightly tap a wooden dowel on the none speaking length from underneath on the V-bar section. Start just behind the V-bar and work towards the tuning pins. I've found this to be one of my most effect procedures when looking for focus. I don't even think about voicing until this has been done. I agree: knuckles make noise. Easy way to find out: use a suede brush to reduce the noise. Tim Coates University of South Dakota University of Sioux Falls In a message dated 10/7/04 6:21:29 PM Central Daylight Time, davidlovepianos@comcast.net writes: I would opt for string seating, making sure the hammers are hard enough underneath and aren’t mushing out in the upper area of the piano, hammer shape and fitting. For focus I think you need a pretty firm supporting structure of the hammer that is not too hard on the crown—iron fist in a velvet glove. David This summer I spent quite a bit of time making sure the strings and hammers are level, etc. Since this is pretty much in the capo area, I will again make sure the strings are seated on the V bar, and on the bridges. To make sure I understand you right, though, for the hammers, should add hardener to the shoulders, and then soften up the top? Or just harden up the underneath, and leave the tops alone? Wim
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