It's all a circle of refinement as I was once taught! Any tech who thinks a once through all the regulation steps makes a great piano will be sadly mistaken! Personally, even though I really don't like doing the rep springs, I do them early in the first reg. pass...not exact, but just to make sure they're not too weak or really strong and springy. the drop screw is one of my favorite parts. i don't know why this is but I like doing it! I need to feel the "bump" when all associated parts meet. Then after all the other steps are done, re-check the springs near the end. Then, I run through it all again. The second (sometimes third) time is very quick. This is especially true when I've installed new repetitions (wips). They're nearly always too strong making the first pass a waste of time without first checking spring strength. Also, a proper key-height and dip done correctly...up front in the process... will help out a lot with the speed in which one can do a great regulation. Key dip is very noticable to great pianists. Blow distance, let off, and drop are also very important, but to the pianist, there's a feel of how far he/she presses the key that will be most noticable, therefore, I like this very solid before setting a good let-off, drop, and aftertouch. And always, before we start, properly bed the keyframe! Not just glide bolts, but front rail AND back rail! I think this step is sometimes overlooked or forgotten by some techs who need some more schoolin'. but maybe i'm just preaching to the choir! Happy weekend, all. Paul From: Ed Foote <a440a at aol.com> To: pianotech at ptg.org Date: 11/25/2009 08:41 PM Subject: Re: [pianotech] Regulating drop Chuck asked: > I guess my question is "what's the purpose of drop?" Israel Stein says "so you know you have letoff". Will too large a drop effect repetition? Will it also effect the touch of the piano? Drop keeps the hammer out of the strings. I like to set the drop so that with the key depressed firmly, the hammer is at the same height as let-off, which, in concert level work, is set to just avoid the maximum excursion zone of the string. It is often the case that setting an action up like this synchronizes the contact of the tender and drop screw to their respective surfaces. Often times, it doesn't. I don't alter the jack's placement to synch them together, since they have already been put in their optimum place under the knuckles. I don't give much weight to synchronizing the contact timing, since when set this close, any staggering of the onset of resistance actually assists more effortless escapement, and the difference in contact is going to be quite small. In comparison to the consistency requirements of let-off and aftertouch, drop is not that big a player, pianists will overlook varying drop distances but notice changes of aftertouch or let-off. If there is a spring strong enough to exhibit recoil in the keys, more drop will probably be needed to insure against bobbling hammers. Then, at the point of let-off, where the pianist is striving from maximum control, tthere is excessive resistance from the spring, an it is occuring earlier than necessary. Compare this to a softer spring and closer drop and you will feel an action that is easier to play softly. The former is more durable, the latter more sensitive and higher maintenance. We take our choices. Regards, Ed Foote RPT http://www.uk-piano.org/edfoote/index.html -------------- next part -------------- An HTML attachment was scrubbed... URL: <http://ptg.org/pipermail/pianotech.php/attachments/20091127/43a116b0/attachment.htm>
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