Crescendo Punchings

[Mark Schecter]

Hello to all, I've only recently started reading this list, though I've 
known some of you for years.

I would like to ask you to explain something to me. I have not read 
anything previously about these punchings, and so I'm coming at this 
with no previously-formed attitude.

Jon Page wrote:
> I have been struggling with a rebuilt A which has been lackluster at best
> and a textbook example of the killer octave+.
> 
> Much to my relief, as I was installing these punchings I could discern
> an improvement in the tone, it became more focused; more noticeably
> in the problem areas. (I know that I'm not going crazy because
> I've already crossed that threshold). Of course it didn't eliminate the
> problems but certainly made them less bad, tolerable, imperceptible
> to some.  At least now they don't jump out at you and do that little
> Nah-Nah-You-Can't-Touch-Me dance.

I wish you, Jon, or Andre' or anyone here would explain to me _exactly 
how_ a punching under a key, which is not touched by the key until after 
let-off, can affect the velocity, trajectory, or any other 
characteristic of the hammer's flight (if there is any other) so as to 
have any influence whatsoever on the tone? Thank you for enlightening me.

Mark Schecter
Oakland, CA