Sorry Al, neither argument seems logical, at least not at 2:00 AM. First, the idea that crowning the key level accurately anticipate the settling of the keys is absurd. Is that for a piano that;s played heavily, lightly, or not at all? And how much settling would be taking place with half-rounds, vs. felt punchings? David Love pointed out the dilemma faced once any settling HAS occurred: do we recrown? in which case we obviate the premise that we're doing it to end up with a level keyboard. or do we pull out front punchings to restore aftertouch. As for any keybed radius... what are we talking about? the entire bed or the front rail? Clearly the concept of creating opposing curves to establish positive interface between the front rail and the keybed would apply to just that location: the front rail. But that's not where we establish key level. The balance rail interface doesn't depend upon flection to achieve positive connection. The argument...she maka no sense! but gets a lotta mileage. David Skolnk Hastings on Hudson, NY At 10:54 AM 10/14/2010, you wrote: >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 > >
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