thick or thin

[Stéphane Collin]

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Hi Wim.

I believe that you have to position yourself somewhere between the two =
extreme situations :

1=B0 having thin and hard (compressed) wool (casimir or cashmere, I =
don't know the english word) with as few paper punchings as possible =
(just calibrate the back rail felt accordingly to the needed =
specifications), which gives much efficiency to the action (energy =
transmitted well from key to whippen) at the risk of it being noisy and =
hammer acceleration being too abrupt, which can lead to harsh sound (I =
think because of the resonance of the hammer shank)

2=B0 having the opposite : thick wool and/or lots of punchings, so the =
action will be more silent, the tone probably more mellow (a bit, =
especially when played forte) but the efficiency certainly reduced =
(those punchings act like a shock absorber).

I presume that thicker wool will relatively compress earlyer than thin =
wool, and that lots of paper punchings will vary in total height sooner =
than few ones.  So I would choose for as less material as possible, just =
enough for the action not to be too noisy.

Regards,

St=E9phane Collin.


  ----- Original Message -----=20
  From: Wimblees@aol.com=20
  To: Pianotech@PTG.org ; caut@ptg.org=20
  Sent: Thursday, October 24, 2002 4:31 PM
  Subject: thick or thin


  I am in the process of re-regualting a S&S M, where one of the main =
problems was that the keys were too low, (they were almost touching the =
front rail when depressed). I raised them all with cardboard and paper =
punchings.=20

  As I was doing this, I got thinking about this question. Are there any =
rules of thumb, or what is the general consensus, as to what thickness =
the wool balance rail punching should be? Should we have thick punchings =
with fewer paper/cardboard punchings, or thin punchings with lots of =
paper/cardboard? I guess I could ask the same for the front rail. Do we =
use thick felts and fewer cardboard, or the other way around? Or does it =
make any difference?

  Wim=20

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