This is the explanation I heard and observed in practice: keys in the middle receive more strikes and their felts compress more than those toward the ends of the keyboard. _____ From: Al Guecia/AlliedPianoCraft [mailto:AlliedPianoCraft at hotmail.com] Sent: Thursday, October 14, 2010 10:16 AM To: pianotech at ptg.org Subject: Re: [pianotech] key leveling with a curve Keyframe From: Al Guecia/AlliedPianoCraft <mailto:AlliedPianoCraft at hotmail.com> Sent: Thursday, October 14, 2010 10:54 AM To: pianotech at ptg.org Subject: Re: [pianotech] key leveling with a curve I've been reading this tread with interest and at this point, would like to interject what I was taught while working at Steinway. I spent one year at a one time event at the Steinway factory. It was a special class given by Fred Drasche to train new technicians for Steinway Hall. After completing the school I was put on the bench for further training-as-you-produce, working my way through the ranks as a Fore-finisher, Regulator, Tone Regulator and finally Tone Regulator and Inspector. I was taught that the reason for the radius in the keybed was to insure that there was equal pressure across the keybed so there would be a solid feel when playing, with no possibility of knocking. Since the keybed had a radius, then the key level should match to produce equal touch and a near equal number of punchings under the keys. We were also told that Steinway considered it to have a better look than a flat key level. FWIW. Al - High Point, NC From: William Monroe <mailto:bill at a440piano.net> Sent: Thursday, October 14, 2010 9:26 AM To: pianotech at ptg.org Subject: Re: [pianotech] key leveling with a curve Hi Horace, I guess I hadn't expected that after they introduced the CNC machine for prepping keybeds that it would go unused periodically. Interesting, though not surprising. I crown the key level as I see no down side to the process, it's no more difficult than a flat keyboard, and I like the aesthetic. The rest of your email regarding S&S NY I find spot on. Kindest Regards, William R. Monroe On Thu, Oct 14, 2010 at 6:37 AM, Horace Greeley <hgreeley at sonic.net> wrote: Hi, William, At 06:00 AM 10/13/2010, you wrote: Hi Paul, I would respectfully disagree. When at the factory three years ago (and this spring) we looked at the CNC machine that does the cutting to radius the key bed. It was still done then, and I've heard nothing to the contrary in the past three years. FYI. Yes. The problem is that, as I think I've noted elsewhere, this is simply one more instance in which S&S is consistently predictable in their inconsistency. That is, from a certain point of view, using CNC devices to do the rough cutting of keybeds at some point in their manufacturing process is one thing. It's quite another to change manufacturing processes (e.g., not necessarily _design standards_) in ways which materially affect as-built standards. Those kinds of changes are notable if one looks at enough instruments over a long enough period of time...especially when one has to re-engineer whatever has happened on the line in order to figure out what may/may not be going on with a specific piano. By that, I mean that, from a certain point of view, it really doesn't matter how the cabinet work is done if the end result is consistent inconsistency with regard to the product - and, there's been plenty of that over a very long time in the specific are of forefinishing. And, yes, I've seen the CNC machines in operation in Astoria; and I've also seen them sitting quiet, obviously not in use. It's really had a great deal to do with who has been in charge of manufacturing at any given time over the years. Further, let's please not forget that an issue of increasing seriousness to many manufacturers, especially ones in the piano business over the last 60 years or so, is the paucity of real cabinet makers coming through the doors seeking employment. Putting aside much of the above, though, because it really obfuscates what we're talking about, the issue with the keybed and how that affects key leveling has to do with the whole forefinishing process. And, as critical as that area is to Steinway, they are still having real problems with getting much consistency with the whole process. Beds and keyframes come through all over the place...often being planar where they should be concave, concave where they should be convex...etc. In that context, I fully concur with Ron (and others) that building a crown into the key height, however rewarding it may be from a standpoint of ego or technical competency is simply not noticed with sufficient frequency. Does that mean I don't do it? Of course not. It just means I'm quite realistic about why I'm doing it and for whom. Best regards. Horace William R. Monroe -------------- next part -------------- An HTML attachment was scrubbed... URL: <http://ptg.org/pipermail/pianotech.php/attachments/20101014/50886c6b/attachment-0001.htm>
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