No Power Yamaha revisited

[Isaac OLEG]

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Yes Roger,

On the other hand, that kind of treatment is in the end abuse to the
instrument, Japanese use to say that it is unfortunate, but concert prep is
in the meantime destroying the instrument.

Warping up the stack more and more on Steinways finally warp the wood more
or less definitively I guess.

On soft wood less problems, but still the action  may suffer if overdriven
mode is considered (shanks on cushion, etc) as its normal regulation.

I guess you put things more "civil" after hours, if you want to keep your
instrument longer is not it ?

Best Regards
Isaac OLEG

Entretien et reparation de pianos.

PianoTech
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94400 VITRY sur SEINE
FRANCE
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  -----Message d'origine-----
  De : pianotech-bounces@ptg.org [mailto:pianotech-bounces@ptg.org]De la
part de Roger Jolly
  Envoye : samedi 24 mai 2003 00:33
  A : Pianotech
  Objet : Re: No Power Yamaha revisited



  You got it TOYOTA!   <G>   Do it this way even when you don't think there
is a problem, and note the results.  You are going to be surprised.
    On some Concert grands for favorite pianist,  I will have the cheek
blocks in and tight, and just tension the rail a little,  then restore after
touch by lowering the hammer line. Neat trick for a big concerto, for a not
so big piano.  Shush!  did I say that.

  Have a good week end.
  Roger


  At 12:49 PM 5/23/2003 +0200, you wrote:

    Thanks muchly Roger...

    seems to be the description that makes the most sense so far. Very
roughly then, adjust the glide bolts so that they all are in contact with
the bed, AND all lift the balance rail to the point that the Front Rail is
just a nats butt away from being lifted as well...

    Key height and the rest is set afterwards.

    Correcto ?


    Roger Jolly wrote:

      Hi Avery & Ric,
                                I have a good minds eye view, of what is
going
      on, but I'm not so sure I can explain it well.   But here goes.  (Send
me a
      deluxe flame suit Conrad).

      If you have the bolts just touching, there is no compression force
acting
      on the balance rail.  With rapid forceful playing, there is a small
amount
      of bounce taking place at the balance rail, robbing the action of a
lot of
      energy.  It gets dissipated within the frame.
      Jack the bolts a little further down,  you start to bow the cross
      struts.  and putting some compression into the rail. , and firmly
seating
      it to the bed.   At the Yamaha Technical Academy, they spend a good
deal of
      time teaching you how to tune these rails in aurally.  takes more than
a
      little practice to get optimum results.
      The front rail is done first, by tapping on the front rail with a kind
of
      45 degree blow, to the leading edge of the rail.  (You can hear better
than
      the traditional method of holding a key down and thumping on the key,
the
      front rail punching absorbs a lot of noise,) Then the bolts are
adjusted so
      the front rail just starts to lift, then back off about 1/4 turn.
Next
      step is get all the glides bedded so the tone is the same when lifting
up
      on the hammer rail, and thumping down on the balance rail.

      The closest analogy I can think of,  is like string bearing across the
      bridge.  Too much bearing and a loss of tone, too little loss of tone.

      Now I will crawl under my rock and smile.

      Regards Roger


    Cheers
    RicB

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


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