Lightening touch by changing damper timing redux

[Farrell]

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Remember of course that when we measure touch weights on a grand action, =
the action is usually on the bench or otherwise separated from the =
damper assembly (say, by putting the sustain pedal on). In effect you've =
made the action feel as those the sustain pedal is on, even when it =
isn't.

True enough, but we're talking about real world playing.  Measuring on =
the bench doesn't give an accurate account of what the player actually =
feels with the piano fully assembled.

Just for clarification here, Mr. Bill was referring to measuring action =
touch weight. Action touch weight implies action only - no dampers. So, =
measuring action touchweight on the bench should yield the same results =
as measuring touch weight in the piano. Now if one wishes to measure the =
effect of damper lift on downweight and upweight, of course, that needs =
to be done in the piano.

That brings up a whole 'nuther question: what is the desired range(s) of =
increase to touchweight that damper lift would induce? I don't know that =
I've ever read anything about that.

Terry Farrell
  ----- Original Message -----=20

    On Jan 18, 2006, at 11:13 PM, Piannaman@aol.com wrote:
      I've read opinions about this where some techs say that changing =
damper timing "doesn't really lighten the touch, it only gives that =
perception." =20



    Remember of course that when we measure touch weights on a grand =
action, the action is usually on the bench or otherwise separated from =
the damper assembly (say, by putting the sustain pedal on). In effect =
you've made the action feel as those the sustain pedal is on, even when =
it isn't.




  True enough, but we're talking about real world playing.  Measuring on =
the bench doesn't give an accurate account of what the player actually =
feels with the piano fully assembled.

      =20
    It's now alot easier to play staccato, but much harder to play =
legato. The conventional damper timing regulation would favor neither of =
these, balancing in the middle between the two of them.


  This is what I was initially worried about.  I've heard that said =
before, so I was cognizant of it going in.  I was surprised to find out =
that it really didn't seem to be the case.  Nobody else who played it =
noticed any difficulty in legato playing(or for that matter, greater =
ease in playing staccato...).  Believe me, if I'd noticed that it =
altered the legato/staccato effects that much, I'd never have done it =
the second time...:-[} =20

  And like a said before, one of the best parts about this operation is =
that it's easily reversible.

  Dave Stahl (Gumby....?)

    Mr. Bill
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