after touch comes key dip

[Isaac OLEG]

Hey hey Andre !

You guess :

> 1. Everybody here knows about this issue already so it's old hat.

I'll vote for that, on a such high level list anyway that is very
understandable.

> But in the end Isaac, we must keep in mind the pressure of
> each individual key frame bolt. If it is too much, the tone will be
'too
> dominant', if it is too little, the tone will be less strong and the
key frame might rattle.
> Be it a Steinway or a Yamaha, the principle remains the same.

Yes, but : on Yamaha , a minimum amount of pressure seem advisable, or
the tone will be too weak and may be a little bland.

Checking with 2 fingers the bedding at every screw as usual can well
not be enough pressure on these actions, not rattling, but needing
more ?

May we evaluate the weight repartition, depending of the kind of
action , key frame and action frame, so we check the bedding at the
screws or lifting the action frame , depending of the weight of the
action ?

And, are the last extreme screws to be regulated with a little less
pressure, as being external ? If giving them the same pressure (sound
& feel ), I often find them to be screwed too much and then the global
pressure is becoming too high (I have to adjust the center more
afterthat .

If lost, is it better to go thru the whole process again (beginning
with the center screws) ?

Schimmel seems to recommend the screws to be regulated from the
external towards the middle on their actions (hard wood keyframe) I
can't see the advantage of it, or may be it helps to avoid too much
pressure at the extremes.


I call you sportsman not because your fast running, but just to say
that your regulating game is like sport. In any shop I've always seen
the use of the regulating rack for first regulation. While I used to
find it easier to have a rough working action, I now make the first
pass on my knees, trying to aim for a more definitive work
immediately.

That is a lot of sensitivity, calmness, Zen and clear state of mind
necessary to obtain a good result as that.

A long time after I've been in your place was necessary for me to
begin to have enough control on all that (6 months at last) too often
I get lost because of loss of concentration.

I particularly like the little yellow thing check at the end of the
job.

And sure it is easier to use standard measurements, and adjust the
action on a bench ,but it does not work so well, with pianist looking
at you with big smiling eyes and asking "how did you do that ?".

So that's why I call you sportsmen !

> What I meant to say is that by pressing down the key very
> lightly, the hammer should move upwards 0,4 mm.

Thanks, If the finger is yet in the punching, I bet you check with a
little pressure but up and down little move to have a feel of the
jack's move too is not it ? or is it only hammer related and you have
to use a calm definite move of the key so the letoff move is complete
but not too much pressure is given ?

I've discover that having the springs well regulated is a necessity to
have a clear reading of aftertouch.

Actually most of the Steinway I see tend to have a more than necessary
Abnick move, caused by a slightly larger drop (jack being a little
misaligned to keep the clear touch) and that oblige to play too
strong, while the tone is more closed that it could be. But indeed
that is then easier to maintain the voicing, as the hammer is less
sensitive.
Pianists seem to like to have that extra weight at hand, but low
repetition is poor with that 3+ mm drop move.


> > I bet it is different from action to action, depending of
> the kind of whippen, the position of the roller on the lever,
>
> But it should not differ.
> The only difference comes with harder or softer front punching.
> I am of the opinion that soft front punching should be
> replaced immediately.
> In our work place we do this as a standard.

I do the same actually, I am the biggest customer at Yamahas for their
front punching ;>) On all precedent repairs the punching are changed
too.

What I mean with the hammer rise (while I understand too that "it
should not differ" ),is that, depending of the position of the roller
on the balance lever, the position of the axe of the whippen lever,
the rise of the hammer is more or less pronounced. On a Steinway with
shimmed whippen flanges I worked on yesterday, when I have a 0.4
hammer rise, the move of the jack after the roller is too large, and
so is the aftertouch at the key. May be not very exact, but my guess
is that the jack is near the axe of the lever then and that is why the
ratio is altered.

But I better keep it simple I guess !

> >> Pianists often find this moment of after-touch the most
> important

And they call that "pressure reserve" in French.

> >> 'Hard landing, neutral/medium landing, soft landing'.

This is a piano technician mind opener (as can openers but more
useful)

> > Warms Regards from France.
>
> Is it warm in France then?
> or are your eyes warm?
>  (;

Not really warm, more rainy than necessary I think.

Je regarde devant pour entendre de toi.

(Looking forward to hear from you)



> moi,  l'oreille

"Le Zoreil " are our name (us continental) for the people living in
warm sunny places as Les Antilles, la Guyana, Madagascar, and so on...

Bye.

Isaac OLEG Zoreil


"Depending of the music, generally speaking no much harm may happen
when the music is played (but exceptions remains) "