Steinway regulation

[Kevin E. Ramsey]

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    OK, here's what I was saying. Having all three criteria is quite =
possible, provided that you are working on an action which well =
engineered, and in good repair. If not, then at least the attempt should =
be made. You have choices to be made of course, such as; is it warranted =
to replace some parts that you deemed good enough before? =20
    If everything has been regulated as well as can be done, the one =
place I would probably fudge would be key dip. Not much either, just =
enough to get the aftertouch the correct feel. I like an even hammer =
line, and I like an even key dip, and if the aftertouch feels even, I =
don't think the pianist is going to notice one key dip being .003 deeper =
than the other. ( Unless he's checking with a dip block!) =20
    I usually can achieve this result. But there are pianos out there =
that just aren't going to give it to you.=20
    My response on this thread was originally to say that we really =
shouldn't be satisfied with just two of the three criteria met. We =
should always strive to have all three, and if you can't achieve it then =
find out why not. By decent action, I was referring to one in which the =
capstan line and balance rail holes etc. are all in an even line.=20

    Oh, and by the way,I never assume anything, especially something as =
important as aftertouch.


Kevin E. Ramsey
ramsey@extremezone.com=20
  ----- Original Message -----=20
  From: Bill Ballard=20
  To: pianotech@ptg.org=20
  Sent: Friday, March 23, 2001 5:10 AM
  Subject: Re: Steinway regulation


  Kevin E. Ramsey <ramsey@extremezone.com> wrote:


    No, how about uniform dip, uniform aftertouch, and an even hammer =
line?
    If you can't achieve that, then go back and start over. As in the =
beginning,
    this time doing those repairs you should have done? I'm not trying =
to be
    smart, or mad, or anything, but seriously..... on a decent action, =
you CAN
    have it all. When all else fails, follow the directions,,,,,,, or =
learn
    them.


  You must not be specifically setting in aftertouch in increments of 1 =
mil punchings, more likely setting in a uniform dip and blow AND =
assuming that "a decent action" will obligingly provide uniform =
aftertouch. What extent of repairs are you willing to perform along the =
way towards an action decent enough to oblige? And to what tolerances? =
Knuckle bolstering is certainly on the list. Re-hanging knuckles where =
the molding is not square to the shank or *some* specified distance from =
the hammer center? How 'bout the same for the capstans or the balance =
rail pins? And does uniform blow include measuring each note from the =
strings, not just the section ends? If your tolerances were exacting, =
would the action honor them with with a uniform aftertouch.

  I'm with Mike and Bob. It's the same 2 out of 3 that we face everyday =
in tuning. Regardless of theoretical calculations, no piano will give us =
clean octaves AND smooth thirds AND smooth fifths. I've said before in =
an earlier thread on this subject that given a uniform blow, and a =
disagreement between dip and aftertouch of 5 mils, the pianist will =
definitely notice the 5 mil error left in a 50 mill aftertouch much =
faster than that same error left in a .390" dip.=20


    On the other hand,,, I just had this nightmare Brambach that I was
    handed the other day. Maybe in the next few days I'll get the =
strength back
    to write about it without shuddering.


  Have fun with it. But the issue in this thread can be demonstrated =
with any action.


    > BobDavis88@AOL.COM wrote:
    >
    > > This brings up an interesting question anyway, whether to insist =
on uniform
    > > DIP or uniform AFTERTOUCH.
    >
    > How about insisting on both even dip and even aftertouch? Crooked =
hamme line
    > tolerated first, (within reason)
    >
    > Just an initial gut reaction,
    >
    > -Mike Jorgensen


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