Hi David A. About half a year ago i was in Vancouver. I stayed with Jack Houweling (howling jack, chuckle chuckle). Jack is a very good friend and a very dedicated tech as well. Besides having great fun and enjoying da good 'spirits' (we had bloody good company btw as other very good friends were there too), Jack offered to make a number of key dip block copies for some Chinese colleagues across the pond. It was then that we discovered that the original (yam) blocks were a hair thicker than 10mm!! So for many many years i have actually made key dips of appr. 10,1 to 10,2 mm. No big deal and in fact I favor a very slight 'extra' provided it does not go any deeper than that. That was one of the reasons why i like Jurgen's crescendo front punchens so much.. their beautiful firmness makes it possible for us to do 'cutting edge' regulation, thereby improving the tone twofold. A double whammy (isn't American Inkelish great?) Friendly greetings From André Oorebeek Antoni van Leeuwenhoekweg 15 1401 VW Bussum the Netherlands +31 652 388008 +31 35 6975840 oorebeek at gmail.com www.concertpianoservice.nl "where music is no harm can be" Sent from my iPhone On Feb 28, 2009, at 8:41 AM, David Andersen <david at davidandersenpianos.com > wrote: > Hi, Andre. This is 100% my procedure as well, except I use 10.2mm > instead of 10mm---a teeny little difference. Otherwise, exact, > exact, precise and complete custom-to-that-action regulation, and > make the final feel of aftertouch with with slight hammerline > variations. Andre is so lyrical, and exactly echoes my experience. > David Andersen > > > On Feb 27, 2009, at 1:12 PM, andré oorebeek wrote: > >> I would like to explain just a little about the way I make >> aftertouch because I have the feeling that some here do not >> understand what I am talking about. >> Let me first make clear that it took me one whole week of practice >> (at Yamaha) to make sure that my 10 mm key dip was a Yamaha 10 mm >> key dip. >> I think that grueling week has made me appreciate a 10 mm key dip. >> For me that is the absolute basis of a regulation. >> What follows (the outcome) depends on the physical abilities of >> keyboard and action. >> A very sharp and refined regulation (what I call a turbo >> regulation) usually gives a big enough striking distance to ensure >> raw power, and I always get what I want. >> The key dip is therefor my basis, my anchor. If it is good, it is >> good. I shall not touch it. >> The aftertouch I make by indeed raising or lowering (usually the >> latter) the hammer line, thereby following the string level. >> To me, that means getting the utmost of power and energy. >> I have learned it from, among others Takahara-san and it gives me >> incredible pleasure because it always works and I can always >> squeeze the last drop of power, followed by a nice tuning. >> Voicing all that power is like working with jewels, the crown >> jewels of the instrument. > -------------- next part -------------- An HTML attachment was scrubbed... URL: <http://ptg.org/pipermail/pianotech_ptg.org/attachments/20090228/6db068d9/attachment.html>
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