Andre wrote:
>>Give any decent instrument a really good and precise key dip and
regulation and the result will almost always be very nice and very
satisfying.<<
Perhaps on a very tightly controlled production line, but with the
handbuilt pianos, I rarely find this to be true. If the key dip is exactly the
same, and the hammer line is straight, the aftertouch is going to be all over
the map. With New York Steinway, my priorities for consistancy are aftertouch,
hammerline, then keydip.
So, if I am regulating for the highest level, I am going to split the
error and allow blow and keydip to both vary slightly so that aftertouch remains
consistant. It feels better than if I allow dip to take up all the
inequalities of the action. If I have to change a measured, pre-set, key dip by more
.005" I will either raise or lower the blow. It takes very little change. When
combined, the two deviations become totally invisible and the action feels
more even than most players are accustomed to.
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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