Aftertouch

[Quentin Codevelle]

Hi Ed,

Do you mean that you sometimes add or remove a thin front punching here or there, when regulating the after touch at the crucial moment of hammer distance fine regulation?

I've sometimes found that even if my let off distance and key dip are perfectly set (at least I try to ;-)  on every note, by the time of fine hammer blow regulation, I sometimes feel that a paper punching has to be removed on some notes to get exactly the same aftertouch everywhere.

When pressing this particular key with its neighbour and comparing the height of the keytops with my finger when the keys are down on their front punchings, I can feel this paper removal creates a small difference, but this difference is required if I want to have a perfect aftertouch with my even let off and hammer blow regulation.

I would not say I do it all the time, but I sometimes do.
This week I checked the regulation of the Yamaha S6 we rent for concerts here, and when refining the regulation of aftertouch, I removed 1 blue punching (the thinest ones from Yamaha) on - let's say- 3 or 4 keys to get what I wanted.

What do you think about this?

Quentin


Ed foote wrote:

Inre aftertouch, increasing depth has much the same effect as raising hammer 
height.  
     I believe that your occasional mushy note on a Steinway is due to 
manufacturing tolerances being so poorly controlled.  Variables in these actions are 
due to the placement of the balance pin and/or capstan, the whimsical 
consistancy of the cove cuts on the flanges, poorly drilled action rails, knuckle 
placement and dimesions that are often no more than distantly related to their 
neighbors, keys with binding balance mortices, and all the other things that 
make this the "standard" piano of the world.  
   If you are setting dip by direct measurement of the key depression, you 
also will have any key height variances added to the overall effect.  
      I set dip by aftertouch priority method, and whereas the typical 
Yamaha, Kawai, Bose, Bech, etc. piano will have virtually the same key dip for 
identical aftertouch, the Steinways are all over the place.  That is why on high 
level Steinway regulation, I find that the best feel comes when the 
inconsistancies are split between keydip and hammer blow.  I allow a .008" variation in 
key dip before I raise or lower the hammer to achieve the same aftertouch.  This 
leaves a hammer line and keydip that is slightly irregular, but an extemely 
close aftertouch consistancy.  Artists are able to judge the consistancy of 
aftertouch a hell of a lot closer than they are to the actual amount of key 
travel, and their reaction to an aftertouch priority regulation has supported this. 
 
Regards, 



Ed Foote RPT 
http://www.uk-piano.org/edfoote/index.html
www.uk-piano.org/edfoote/well_tempered_piano.html
 
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