About after touch

[JAMES DALLY]

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Me too please.....Jim Dally 899 Winesap Dr. Howard, Ohio 43028  (I'll =
pay postage)
  ----- Original Message -----=20
  From: antares=20
  To: ilvey@sbcglobal.net ; Pianotech=20
  Sent: Saturday, November 13, 2004 7:01 AM
  Subject: Re: About after touch


  Hi David Ilvedson,
  Tell me your address and I will send you a sample.
  Since these front punchings are conical, make sure that the smaller =
side is up (it does make a difference, though subtle).
  On any instrument, find a weaker note. try to imprint how it feels and =
how it sounds, than exchange that punching,
  You 'll be amazed, like so many others.

  Andr=E9 Oorebeek

  On 12-nov-04, at 1:54, David Ilvedson wrote:


    Made by who?  You?  I'dl like a sample...

    David Ilvedson

    =20

    =20

    ----- Original message ---------------------------------------->
    From: antares <antares@euronet.nl>
    To: Pianotech <pianotech@ptg.org>
    Received: Thu, 11 Nov 2004 18:32:09 +0100
    Subject: Re: About after touch



    On 11-nov-04, at 3:19, William R. Monroe wrote:


    One other issue that I'm still not convinced is not part of it, is =
the jack to knuckle placement.  There is still plenty of room in the =
window to allow for more aftertouch, and thus more clearance of the jack =
from the knuckle, but I already have about .055" of aftertouch (measured =
by placing .055" of punchings on top of front rail felts and seeing that =
escapement just barely occurs when the key is depressed).  I hesitate to =
think that more aftertouch would be appropriate.=20


    One of the very great developments of our business here in Holland =
is the new front punching called "Grand Piano Punching".
    I have worked for years on this and we now offer this punching world =
wide.
    And why then is it so very nice one could ask?
    Because it has a fantastic homogenous density, but at the same time =
it is not too hard.
    It makes for a very sharp after touch, and thus for the sharpest =
regulation possible.
    As I said, it took me years to get this together, and it is even =
better than the Yamaha or Steinway punching because of its density and =
firmness.

    I wrote about this before : after touch should be =B1 0,4 mm, =
meaning that after drop, and after the landing of the hammer, we should =
be able to move the hammer up 0,4 mm by softly pressing the key. If you =
see no movement at all, you have no after touch. If you see a lot of =
movement, your front punching is too soft or you have too much after =
touch.... which is it?
    That's why you need to make sure that before you start a regulation, =
your front punching is of the right firmness.

    I will explain once more :
    A key is like a sea saw.
    Usually, we find an old car tire under both sides of the sea saw to =
soften the impact. Nevertheless, a little child sitting on the high end =
of the sea saw will bump upwards slightly because of the impact at the =
lower end.
    Now, if we take away the tires, the impact will be much harder and =
it will hurt the behind of the child coming down, but it will also cause =
the other child to almost get airborne, because the force of the impact =
is much stronger.
    That is the an analogy in regard to a more firm front punching : It =
causes a more intense transfer of energy and thereby creates a louder =
tone.
    Your regulation can be more precise, thereby giving you the maximum =
tonal output.

    I often ask a critical technician or pianist to listen to a =
particular tone and to feel its touch. I then exchange the front =
punching with our own front punching, and I ask the same person to
    listen and feel again. They always are flabbergasted by the result.

    friendly greetings
    from
    Andr=E9 Oorebeek

    "where Music is, no harm can be"



  friendly greetings
  from
  Andr=E9 Oorebeek

  "where Music is, no harm can be"

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