Tripping, (was METHOD)

[A440A@AOL.COM]

 JIM writes:

<< In a truly "consistent" setting of aftertouch throughout the scale the 
"dip" 
would look more like a saws tooth edge rather than a straight line. 

Yes,  I agree, and it does look like that,(though very slightly) 

>>This is 
because of inconsistencies in knuckle size, string heights, hammer heights, 
etc. the area we are dealing with in the "aftertouch arena" is in the 
'perception' of eveness for the performer. >>

Yes,  and "my" performers feel like their keyboards are more even if the 
aftertouch is the same, even at the expense of consistant key-dip.   I 
believe that Del Fandrich had come to the opposite conclusion, based on his 
clientele, so there is still much to be investigated. 
     A .010" difference in aftertouch from one key to the next seems to be 
more apparent than the same amount of difference in two keys actual dip. For 
the highest order regulation, I first set the keydip to as close a 
consistant, static, dimension as possible, then if the need for consistant 
aftertouch wants me to add or subtract more than .010", I move the hammer up 
or down to make up the difference.  This splits the differences caused by 
inconsistant geometry into two separate areas, both of which see only half of 
the variation and essentially render it below the level of perception.   
    
Thanks for the post,
Ed.