Pinning on new flanges

[David Ilvedson]

I don't like any lube that will attract dust.   I like using a soft leaded pencil or dry sprays...
I don't think I have ANY graphite grease anymore.   

David I.

----- Original message ---------------------------------------->
From: Isaac OLEG <oleg-i@noos.fr>
To: V T <pianovt@yahoo.com>, <pianotech@ptg.org>
Received: Mon, 30 Aug 2004 11:21:53 +0200
Subject: RE: Pinning on new flanges

>Hello,

>Good analysis for sure, and remember the weight of the arm/shoulder  of
>the pianist is way too much in regard of the weight necessary to
>produce notes, so a too light action oblige to use more muscular
>energy and less weight.

>The same idea why using Vj lube or graphited grease on the butterfly
>spring, helps to avoid too much freenes of the spring at the lever's
>side, and keep enough tension on the repetition side even when pinning
>of the hammer is getting too loose, obliging us to lessen the spring.

>Now we can talk about graphite grease (to wich I am opposed because of
>the acidity that corrode the spring)for at last 50 post !

>Best Regards.

>Isaac OLEG







>-----Message d'origine-----
>De : V T [mailto:pianovt@yahoo.com]
>Envoye : dimanche 29 aout 2004 22:54
>A : pianotech@ptg.org
>Objet : Pinning on new flanges


>Hello Friction Thread,

>Here is an additional view to get the conversation
>heated up:

>The musician has roughly 10 mm of key travel to apply
>the force to the key.  The choice exists of where on
>the key to push, and how to time the force.  If we
>plot a function of finger force vs. time, we will see
>that the player controls his touch by modulating this
>force during the travel of the key.  There is a
>feedback loop at work and the player integrates the
>force to get the proper momentum into the hammer head.
> He may start with a higher force to get the static
>friction out of the way, but then he might lessen the
>force in order to create a soft blow.

>The following assumes that the balance weight is kept
>the same when comparing the low friction to a normal
>friction action.

>All mechanical systems have a "damping ratio".  This
>is a ratio of stored to dissipated energy.  Control
>basically amounts to being able to impart just the
>right amount of momentum to the hammer.  A mechanism
>with a low damping ratio (little friction) is harder
>to control because a mass set into motion without
>friction will continue to move freely.  The player has
>no means to slow the mass down if he initially presses
>too hard on the key.  His skills then consist of not
>pressing too hard, or quickly backing off in case he
>did press too hard.  This is exactly what a
>"frictionless" action requires - the ability to change
>finger force in an incredibly short period of time.
>Again, he has only 10mm of key travel during which he
>can distribute the force.  For best expressiveness,
>the musician would probably like to have as much of
>those 10 mm available to modulate the pressure without
>feeling that he is moving the key stick through
>molasses.  If he doesn't have the physical ability to
>reduce the force quickly, he will feel that the action
>is "temperamental".

>The situation changes when very fast playing is
>required.  The requirement for a precisely controlled
>dynamic level may give way to the need for speed.  A
>fast (low friction) action becomes advantageous.  I
>think that pianists who like to play fast pieces and
>have phenomenal control over their touch may prefer an
>action with very low friction.  They have the ability
>to put just the right amount of energy into the hammer
>in the shortest amount of time, basically using the
>initial stage of the key movement to send the hammer
>on its way with the precise amount of momentum.  Since
>they did all the work in the initial stage of the key
>movement, they are free to quickly move on to the next
>note.

>Vladan



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