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HI Roger
Very nicely articulated points. I especially like the idea of let off
punchings. Now that's an EXCELLENT Idea. BTW On My Stwy D Rick Wheeler made the
key set out of bass wood with big long maple shoes. Bass wood is tiffer than
sugar pine & and equally as stable. He also strengthened the key frame arch &
I beleive that pianist of all abilities can sense the solidity & security
that comes from very low action saturation created by stiff keys,frame &
Andres punchings. Now that's a good combination.
Your idea of removing old paper punchings and using thick cards & as
little paper as needed is another value added component of custom rebuilding.
So many things add up to a precisely controlled piano action.
Thanks
Dale
Hi Ric,
For several reasons.
#1. I think this is probably the most important reason. The Psychosomatic
effect on the pianist. Well defined after touch gives the advanced player
a great sense of security. They play in a far more relaxed manner knowing
that every key will behave in precisely the same manner. The tone they create
becomes much sweeter and more controlled in the middle ranges. Comments
like: Is the touch deep or shallow, are invariably connected to after touch and
not depth. ( I am talking about a well regulated concert piano, before
some one howls about the actual depth.)
Concert pianos that I look after regularly have had the felt punching ironed
so they are consistent. Sharp punching are turned over annually to ensure
the key hits a flat surface..( Sharp punching's groove with heavy playing and
should be turned over each time dip is adjusted) Good pianist love
consistent after touch, I am not so sure that they care about an exact amount. Now
there is a can of worms. How much after touch is deemed to be correct?
#2 Stephanie, raises a valid point about key frame noise and flex. This
addition of unwanted tone is a serious factor. When rebuilding Steinway's, the
superior Oak frames of the 1920's. gives clear evidence of a quieter and
more responsive action. Resulting in better tone control. PS. I am not a lover
of cheap soft wood action frames, for the same reason that Andre does not
like mushy punching's. The soft wood frames absorb too much energy. Lowering
the action saturation point. On a well regulated / voiced Yamaha do this
test. Really hit the note adjacent to the centre glide bolt, then do the same
to a note mid point to the next glide bolt. You will hear a slight
difference in tone, and feel a response difference.
#3 Key flex. This is related to the action saturation problem. The more
efficiently we can transfer energy from key tip to shank the better the tone
control. Nothing new here, this is why maple shoes are use on concert pianos
to stiffen the key. A flexing key will alter the sensation of after touch.
On a hard blow it will give the sensation of no after touch. A Baldwin SD10
will regulate to a much more refined after touch than a Steinway D. Cry all
you want about Baldwin pianos. but the key sticks are vastly superior. Sugar
pine keysticks, with long maple shoes, and good long maple buttons.
#4 Andre. I have noticed a difference in tone when removing the big pile
of paper/thin card punching's often found in grands. And replacing them with a
few very thick card punching's. Add to this, Ironing the felt between brown
paper, it makes a big improvement in consistent dip and after touch.
Moral of the above points: The pianist works with after touch to create
tone. Any and all things that we can do, to make this accurate and reliable,
the happier our clients will be.
Andre, you have started me thinking. OMG that's dangerous ;-) Have you
tried let off buttons with Wurzen felt? Again we find that they are all over
the map in quality and density. When replacing them. We first iron then
with a damp cloth, to shrink them, then dry iron. It makes a big difference in
how the let off and drop regulates.
Warm regards.
Roger
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