<html> <body> <blockquote type=cite class=cite cite=""> <dl> <dd>Hi Wim,</blockquote> </dl> <blockquote type=cite class=cite cite="">I drew a line on the keybed where the action is supposed to be, so I don't have to keep putting the cheek blocks in. </blockquote> Looking for those lines is very slow compared with just pushing the action fully home. <blockquote type=cite class=cite cite=""> <dl> <dd>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. </dl>This is fine if you only want to do half pedal, or all the way. But this professor wants it at 100 different position, (or at least as many as possible) That is why I drew a mark on the keyframe, and then three marks on the keybed.  This allows me about 5 different positions. But I found that even that doesn't do the job. I wound up doing what one of you suggested, (I can't remember who), and that is to do a slow shift on each key, playing the note constantly. It brings out even the smallest imperfection. </blockquote> You have to get the half pedal even before looking for those other positions.  I can't rely on my foot to find that half pedal point, the card makes every thing reproducible.  If you have even voicing at full bore, and even voicing at half pedal, the other adjustments are minor. It works for me.  Since I do a lot of voicing, this is the fastest and most efficient method that I have managed to master. Regards Roger <blockquote type=cite class=cite cite="">  Wim </blockquote></body> </html>