[CAUT] F..riction

[Dale Erwin]

Dittos on that.  The Strike/hammer weight is the base line. 
 

 

Dale S. Erwin
www.Erwinspiano.com
Custom restoration
Ronsen Piano hammers
Join the Weickert felt Revolution
209-577-8397
209-985-0990



 

 

-----Original Message-----
From: David Love <davidlovepianos at comcast.net>
To: caut at ptg.org
Sent: Thu, Dec 9, 2010 10:46 am
Subject: Re: [CAUT] F..riction


Scattering, good term. I agree with that but don't like to touch the SW curve 

preferring to split the difference between FW and BW using the trendline 

function on the FW curve.





David Love

www.davidlovepianos.com



-----Original Message-----

From: Ed Foote <a440a at aol.com>

Sender: caut-bounces at ptg.org

Date: Thu, 9 Dec 2010 12:45:00 

To: <caut at ptg.org>

Reply-To: caut at ptg.org

Subject: Re: [CAUT] F..riction



David writes:

>>  A smooth FW curve and smooth SW curve in which the BW is allowed to 

float can easily produce irregularities of a couple of grams.  What is 

more perceptible, BW differences or FW weight differences that result 

in differences in inertia?  Rhetorical question really as I think it's 

pretty difficult to answer but one may find oneself in the position of 

having to make the choice or compromise both a little bit.  In reality, 

it may be much ado about nothing.  <<



  I think by "scattering" the irregularities around, they disappear.  

So, I begin with a smooth FW and SW, coupled by samples through the 88 

keys to arrive at values for both that keep me within bounds of the BW 

I am looking for.  Upon assembly, I always find that there are some 

notes that simply don't fall into line with the DW, so for those that 

are too heavy(DW), I touch off a little bit of the hammer(belt sander 

on the sides), and for those that are too light, I use a 1/4" drill to 

remove a bit of lead from the most proximal keylead.  This leaves me 

with near perfect DW and pianists have always felt that the actions 

done like this are extremely even.

     I also scatter the regulation to create exactly even aftertouch.  

This is done by allowing keydip to vary by .010" and also raising or 

lowering the hammer by as much as a mm or so. I keep the let-off and 

drop as consistent as I can possibly set it.  I also use much softer 

springing than any of the factory actions I see.

  This approach is difficult to use on a production line, but put 

together generally puts the pianists totally at ease with the control. 

I, and my ears, are getting older.  I don't voice as well as I used to, 

but a really killer regulation will make up for some of that.  Mischa 

Dicter (sp?) once remarked about my action that "There is a little bit 

of voicing irregularity there in the fifth octave, but with an action 

like that it is no problem".  ( He actually believed it was a specially 

prepared piano that had been sent from Atlanta, and at first said that 

"Ron really did a great job on that one!)

Regards,



Regards,

Ed Foote














 
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