Keep on filing...

[Scott Nelson]

Hi everyone,
   
  The Spurlock tool for let-off is terrific for checking your consistency from note to note, but normally there is a drawback to its use. Because of the varying string height levels, there is often a considerable discontinuity between sections (such as between notes 26 and 27 at the break) . The Spurlock tool will align all the shanks in a straight but often sloped line(depending on the relative heights of the shanks) between the end points of each section.
   
  If the hammer bore compensates for the varying string height across the piano, all the shanks can be level (identical rotation) and the distance of the hammer from the string 
can be the same. Unfortunately, most manufacturers instruments are bored with only 2 specs: bass and treble, so under these circumstances it is necessary either to have the shanks not level, or to set them level and vary the distance of the hammers from the string during let-off.
   
  I have been experimenting with a full-length jig across all 88 shanks that is based on the Spurlock jig. I set the let-off as close as is practical to the lowest 2 strings (that is, in height) and then adjust the jig to where it just clicks as the jack brushes the knuckle. The other shanks are then set to where they just click as well, a la Spurlock. It is amazing how consistent you can set the escapement-almost imperceptible movements of the let-off dowel will change the clicking quite visibly and audibly.
   
  This procedure, of course, leaves the letoff distance from the string rather far on many notes where the string height is higher than the samples. ( I also set the "hammer blow distance " 
  to vary as well so the start point is level, again, the hammer shanks ). I suppose the question is, barring a compensated hammer boring, whether this procedure will result in a more consistent touch, especially at pianissimo, although you are giving up the idea of " the 
  hammer as close to the string as possible" idea. 
   
  It is interesting also to observe what happens if you if you first set the let-off so the hammer is an equal distance from each string as well as the blow distance. When you then check with the jig, you will clearly see that your letoff and blow distance lines follow the string height variances.
   
  Incidentally, if you set your blow distance samples and then use the stretcher or a straightedge to set the rest, following which you were to set the let-off an equal distance from the strings, your aftertouch would vary unless the string heights were all equal, and you would have to compromise key dip and/or height to make it consistent. This is the main reason I have been trying this method lately. It is hard to judge whether or not this way is more consistent, but so far the comments about the piannissimo touch have been very positive.
   
  I would be interested in any of your comments regarding this matter.
   
  Thanks, 
   
  Scott Nelson, RPT
Dean May <deanmay at pianorebuilders.com> wrote:
        v\:* {behavior:url(#default#VML);}  o\:* {behavior:url(#default#VML);}  w\:* {behavior:url(#default#VML);}  .shape {behavior:url(#default#VML);}        st1\:*{behavior:url(#default#ieooui) }                I would also heartily recommend you purchase this tool from Spurlock: http://www.spurlocktools.com/id24.htm  
   
  I love it. 
   
  Stop relying on your eyesight to set all let-offs and drops. Just set each section end hammer in the piano.
   
  To set the let off on the section ends I use a mute wire with a 90 degree bend about 3/8 in from the end. The wire is slightly more than 1 mm thick. If the wire is too thin, flatten it with a hammer to make it as thick as you want the let off.  Hold the bent end under the strike point of the strings and bring the hammer up to the wire. Raise the let off button until the hammer touches your wire right at the let off point. 
   
  Then pull action, set it on the table, and use this tool to perfectly set the rest. The instructions say to use it to set the let off. I also use it for the drop. After setting the let off, just turn the drop screw up while holding the key down. When the hammer comes off the rail turn the screw down just a little past the hammer coming back onto the rail. Like Andrew, I like the drop right at the let off.
   
  Did I mention that I love the Spurlock tool (as with every Spurlock tool I’ve purchased)?
    Dean
  Dean May             cell 812.239.3359 
  PianoRebuilders.com   812.235.5272 
  Terre Haute IN  47802

      
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  From: pianotech-bounces at ptg.org [mailto:pianotech-bounces at ptg.org] On Behalf Of Andrew and Rebeca Anderson
Sent: Wednesday, June 20, 2007 10:54 AM
To: Pianotech List
Subject: Re: Keep on filing...

   
  Danilo,
With the repetition at rest and the hammers rotated up and out of the way, the jack top should be below the yoke of the balancier.  Ideally not much below.  This is necessary lost motion in order to permit the jack to re-set.  You can check by using a card and dragging it over the yoke.  If the card catches on the jack, the jack is too high.
A Steinway regulation method to check this when the hammer is resting on the repetitions is to press the jack tender down, let go and the jack should reset winking the hammer a little.  If the hammer doesn't wink, you have more lost motion then necessary.  If the jack cannot reset consistently, you don't have enough.

I like to regulate drop close to the strings and I like to have drop and let-off coincide.  This does make the instruments more weather sensitive as a 1 - 1.5 mil drop is not much where humidity related wood movement is concerned.  Of-course the instruments that get that kind of regulation are usually climate controlled here.

This requires a definite but slow rise of the hammer with the repetition spring.  Springs are not easy to get just so and you will have to develop the skill of setting them by repeated effort until you start getting the result you want.  You want to be able to avoid bubbling/double-striking which occurs when balancier pinning is too loose and or when the spring is too strong.

It is important to note that many action adjustments are interactive with other adjustments.  That is, when you change one, the other is thrown out.  On a new piano or when an action is worn, I will go through several times adjusting and readjusting as things get closer to ideal.  You may want to obtain an action regulation book that takes you through the steps in order of greatest efficiency.  Yamaha sells a video from their website on action adjustments.  I recommend it.  There are some differences in approach between instruments, Steinway follows a slightly different procedure for example, but the overall illustration is worth becoming familiar with visually.

Andrew Anderson, Artisan Piano

At 08:12 AM 6/20/2007, you wrote:



  Thanks, Tony, I enjoyed this mail!

I use this Steinway O to give concerts in this church. A few years back I had a tuner tune it. When he was finished, I asked him "So, any problems? -No. Loose pins? -No. False beats? -No Action issues? -No." I was quite baffled. I even tried to convince him that something must be improvable by playing a bit and asking "Is this or that really supposed to be like this, ideally? -Yes, it's fine." Then he added "Just avoid the sun, it makes it go out of tune faster." Well, it gave me another reason to teach myself. On the opposite end, I gave a recital in a church on a 70's Steinway B, which the organist had hired someone to renovate for ca $15000. The members of his constitution were forever complaining "Did you really have to spend so much money?" He asked me to help him out by taking every opportunity to praise the instrument. Which I dutifully did. "The best piano I've ever played on, it's as good as a brand new one, and they cost bla bla, it's amazing what value you can
 get from such a perfect restoration!" It was easy, as I was speaking the truth...

About the position of the jack, you wrote
"..the repetition regulating screw at the hammer end of the repetition lever requires adjusting to allow the top of the jack to be just below the top of the repetition lever."
I thought it was suppposed to be just above the top of the repetition lever? And I've adjusted it that way. Please be so kind as to confirm this! Or do you mean the position of the jack at the moment the hammer is released from check and lifted up by the repetion lever?

"Your drop screw may be too low stopping the repetition lever going up high enough"
I've set it to make the drop about a mm or so, relying on my eyesight.
You've given me some new things to look out for, so next time I get to the instrument, I'll check everything carefully: I'll try to add some weight to the hammer shank (someone wrote somewhere about wrapping a bit of solderingmetal around the shank?) and carefully observe the relative positions of the jack/repetitionlever from rest to full depression of the key and back. Anything else I should think of?

Thanks! Danilo


    
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