Many thanks, Ron - your insight is much appreciated. As to your last point, my concern is whether this will feel noticeably different to a concert level pianist. I may decide, from a purely technical point of view, that identical ratios between sharps and naturals are preferable, but that doesn't necessarily make the pianist happy. It does seem perfectly plausible to me that, given the physiological differences between the individual fingers of the hand and the empirical origins and long history of the keyboard (and the compositions written for it) that there might actually be a compelling argument in favor of differing ratios. What I'm wondering is simply whether or not pianists have noticed the difference between these two setups and whether their reaction was favorable or not. - Mark Ron Overs wrote: > <div class="moz-text-flowed" style="font-family: -moz-fixed">Mark, > >> . . . The "magic line" at half-stroke: WNG is recommending using >> different heels for the sharps to maintain this, but I'm a little >> concerned about how this will actually feel in the finished action. > > I've been doing this since 2000 when fitting our action. Very often > the spacing between the two balance pin lines, for the black and white > keys, is incorrect, so the capstan line might need to be located > differently for the black and white notes. > >> After all, pianists have spent the past three centuries getting used >> to slightly different touch characteristics between sharps and >> naturals, and I want this action to feel good, not unusual. > > If feeling unusual means that the hammer/key ratio is the same for > both black and white keys, then I'd prefer it to feel unusual. > > Ron O.
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