Roger Jolly wrote: > No two action frames are the same, so making up > definitive procedures, for bedding, key height, key level is not so > straight forward. Technique and aural training in this area is perhaps > way under stated. > Boy, you can say that again. I picked out this 20 year old copy of the action regulation procedure Yamaha puts out that I got from Laroys seminar in Oslo all those years ago and just read through what the bedding proceedure was. No way the importance of understanding the degree of action "compression" (shall we call it that ?) comes through. If anything, the way it read to me seemed to point in the direction of << as little as possible >>. I love it... you're in this buisness for nearly 30 years and you run into something like this that with out a doubt shoulda been taught or banged into your head at least 25 years ago. Well... better late then never I suppose. > > Now I back under my rock and grin ric. There's lots of flex in those cross > struts, this test I would consider conclusive. While your under there sharpening your crossbones I might add I did my own little playing around today. With a Steinway D from about 20 years old. Different puppy entirely, but very revealing. Its really quite amazing the difference in play/sound/power you can achieve by adjusting up or down these glide bolts. And there seems to be a certain range of settings withing what is acceptable solid bedding. Obvioiusly I have a new play tool :) > > Regards Roger > > _ -- 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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