Has it begun again?

[Delwin D Fandrich]

Avery,

I don't remember.  But the basics aren't all that difficult.  I hope I remember
everything -- it's been a long day and this is all from memory.  I've not set
one of these up for quite a while.  (I don't do much action regulation any
more.)

Use moderately dense or soft hammers.  Assuming that the soundboard will respond
to them, of course.  The idea is that you don't want excessively heavy hammers
out there.

Replace the wippens with the type using rear flange springs.  Adjust the springs
so that they just barely lift, but do not quite balance, the wippen.

Replace the original capstan felts with the firmest woven action cloth you can
find.  Do not install the capstan underfelt.  To keep the action geometry
correct it is sometimes necessary to install a thin wood spacer to make up for
the thinner felts.

Replace thick, soft knuckle leather typically used on Renner and Asian knuckles
with thinner and firmer buckskin.  Even though it may not look as pretty but it
will work better.

Replace key balance rail punchings with the thinnest, firmest felts you can
find.  Pack and/or press them down for a while before installing them.

Using the thickest paper punchings practical -- i.e., a few thick punchings vs.
a lot of thin ones -- set key travel 9.0 mm.

Adjust the hammer blow until the jack just clears the knuckle.  It won't bounce
the knuckle -- double strike -- but it will depend on the knuckle returning to
move the jack the rest of the way out.  If the action geometry is right -- and
if memory serves -- the hammer blow distance will be approximately 42 mm.  Set
the jack letoff tight.  On the order of 1.0 mm.  You may also have to replace
the jack letoff buttons with thinner, firmer woven felts.

Now you can take some of the lead out of the keys.  Probably about half of it.
Balance the keys as normal.  I used 52 grams in the bass tapering to 48 in the
treble.  Work out a schedule, don't try to use lead to correct for tight or
loose flanges.

The resulting action will be very light -- dynamically -- and very quick and
very precise.  With the short keystroke the artist will be able to move from one
note to another faster and easier.  Yet the action is still capable of just as
much power as ever.  The downside is that it will be a bit more demanding of the
artist.  Key aftertouch is minimal and requires that the artist have very good
finger control.  There is a sensation of playing -- of controlling -- the hammer
right down to the end of the keystroke.  The pianist will either love it or
struggle with it.  Sometimes both.

If I've left anything out, I'm sure someone will point it out by morning.

Regards,

-- ddf

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Avery Todd wrote:

> Hi Del,
>
>    Do you (or anyone else) remember what the subject was called? I don't
> remember reading this and would like to go into the archives and look it
> up. Thanks.
>
> Avery
>
> >It's not a major job to re-balance the action
> >for a lighter, shorter touch.  (The details of which I've already gone into
> >on this list.)
> >
> >Del