key dip, dip in.....

[Richard Brekne]

David Love wrote:

> If you have different string heights in each section (like many older
> Bechsteins, for example) then you will have different hammer line in each
> section to make the blow distances equal.  If the boring was done standard,
> then you will have different shank heights in each section as well.
>

Different shank heights means capstans screwed up higher on some then others,
and sets up different aftertouch. You end up haveing to give somewhere... either
dip, aftertouch, or blow.  Most pianos seem to have at least a couple mm
variance in the treble sections, and few seem to echo this in their bore
lengths. Actually, if you look closely at factory bore lengths, you wonder
sometimes  what and how much the fellow had to drink the night before :)  A
straight hammer line or one that gives at least the illusion of one, is going to
reflect some of these differences, hence the +/- 0.xxx we see. I personally
aggree that it is aftertouch that pianists most sense, and not a half mil of
dip. So I aggree with Ed, and indeed what I was taught all those years ago by
Yamaha guru Laroy himself... the aftertouch priority regulation.


> I will admit I've never seen a piano where the bass was bored the same as
> the tenor/treble.  A shank farther off the rest cushion will not repeat so
> well as the one set closer.

Not sure what you mean... bass bored the same as tenor / treble.... but
certainly I see bass bore lengths so that shank height is the same as in the
treble, and I also see bass bores so that shank heights end up being just a bit
higher... about the difference in string height.

Why would the shank farther off the rest cushion cause a slowing in repetition ?
I can see that one might end up having to have just a hair stronger rep springs
in that situation, but I dont otherwise see any conection to rep speed.

> David Love
>

Cheers
RicB

--
Richard Brekne
RPT, N.P.T.F.
UiB, Bergen, Norway
mailto:rbrekne@broadpark.no
http://home.broadpark.no/~rbrekne/ricmain.html