<HTML><HEAD></HEAD> <BODY>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. <DIV style="PADDING-RIGHT: 5px; PADDING-LEFT: 5px;= PADDING-BOTTOM: 5px; BORDER-LEFT: #000000 3px solid;= PADDING-TOP: 5px"> <HR> Original message From: Avery Todd <ATODD@UH.EDU> To:= College and University Technicians <CAUT@PTG.ORG> 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: <BLOCKQUOTE class=cite cite="" type="cite">Hi= Wim,          &n= bsp;     I'm happy every thing worked out for= you. =D> 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: <BLOCKQUOTE class=cite cite="" type="cite">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</BLOCKQUOTE></BLOCKQUOTE></DIV></BODY></HTML>