[CAUT] D complimented

[David Ilvedson]

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The screw in the dag set the action in the correct spot according=
 to the cheek blocks.   Once set he didn't have to use the cheek=
 blocks.  Once done, turning in the dag screw brought the cheek=
 blocks back into the equation, i.e. they could be adjusted in=
 the future to move the action in....that's my take and I'm=
 sticking to it.

David I.







Original message
From: Avery Todd 
To: College and University Technicians 
Received: Mon, 21 Mar 2005 14:57:47 -0600
Subject: Re: [CAUT] D complimented


Roger, 

Some great suggestions. One question though. Why do you turn the=
 dag screws in after 
voicing. It seems like that would change the strike point where=
 you'd been doing the
voicing. What am I missing here? 

Avery 

At 08:45 PM 3/20/2005, you wrote:

Hi Wim,
               I'm happy every thing worked out for you. =3DD>

Some suggestions that may be helpful to you.

I have added Dag screws to the D's I look after. It makes voicing=
 a lot easier I can quickly push the action into position, and=
 not have to worry about cheek blocks and the sustenuto rod=
 giving problems. After voicing, I back the screws inwards a=
 quarter of a turn.

I have a couple of pieces of laminated card, so I can depress the=
 pedal, and slip it at the bass end of the action.  This will=
 give an accurate half pedal position, makes it easy to get=
 consistent voicing in this position.  The thickness of the card=
 is half the thickness of the Agraffe holes.

To get good contrast at half pedal, using the string marks on the=
 hammer for a guide.  Chop stick needling tool, (single needle) =
 Insert needle 1-1.5mm directly into crown, vertical to molding,=
 and dead centre of string marks.   I find it faster to reverse=
 the action into the action cavity.  It is also more accurate,=
 than leaning over a larger concert grand action.

Check half peddle voicing with card inserted at bass end.  Chalk=
 mark the keys that require corrective action. I like to run=
 Chromatic scales at both pp and ff.  Checking for evenness. 

Regards Roger




At 04:34 PM 3/20/2005, you wrote:

Today was the faculty recital on the D I've been discussing, and=
 the results were very favorable.
 
This morning I spent an hour and half tuning and spot voicing the=
 piano, and at 1 PM met with the professor, where he pointed out=
 a few minor shift voicing problems. He did say he wished there=
 was a little more power in the 5th octave, but I pointed out=
 that it might make the piano too brittle. And besides, he didn't=
 want any changes at this point. 
 
After the recital he looked very pleased, and thanked me for the=
 work on the piano. This, for me, was a big relief. I had been=
 uptight about this for several weeks. (Ask my wife. She's been a=
 saint for putting up with me). 
 
Not only was the professor happy, guess who also showed up? The=
 critic who slammed my piano three weeks ago. Actually, he is a=
 good friend of mine, and I've worked on his piano. At=
 intermission we talked, and he said he thought the piano sounded=
 great.
 
So, the bottom line, at least for now, is that the professor is=
 happy, the critic is happy, and that makes me happy. (I haven't=
 heard from the other piano professor, but I'll worry about that=
 some other time). 
 
Wim
Willem Blees, RPT
Piano Technician
School of Music
University of Alabama


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