<html> <body> Hi Wim,                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 type=cite class=cite 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></body> </html>