----- Original Message ----- From: David Love To: pianotech at ptg.org Sent: Saturday, January 22, 2011 11:40 AM Subject: Re: [pianotech] [SPAM]Re: Keyboard Metrology Sound-off!!! Sometimes. In this case the ratio was fine. 5.4 for the naturals, 5.2 for the sharps. The action needed a lot of refinement however. Bass hammers were lighter than the low tenor hammers so a SW adjustment was necessary. The question has arisen as to what's more important, uniform balance weight or uniform inertia via a smooth FW pattern. I go back and forth. Because of minor inconsistencies in most actions from note to note for a variety of reasons you rarely can get both so where do you compromise? Stanwood made a comment on the list recently that he opts for smooth FW and lets the BW float some. That's what I chose on this particular job and found that the balance weight when I did a rough survey varied only slightly. I've also done it the other way doing a careful survey of the action and adjusting the FW's to achieve a uniform BW. That usually produces a slightly jagged FW curve. Pianists seem happy with both approaches, it's all an improvement from what was there. David Love www.davidlovepianos.com From: pianotech-bounces at ptg.org [mailto:pianotech-bounces at ptg.org] On Behalf Of Dave Swartz Sent: Saturday, January 22, 2011 8:04 AM To: pianotech at ptg.org Subject: [SPAM]Re: [pianotech] Keyboard Metrology Sound-off!!! Based on the pianist's needs and desires, most of my action work involves analysis and correction. These features would include everything from half punchings to a complete re-work of action ratio (SRW), smoothing strike wieght, key weight, key ratio, etc.. Keeping in mind that a consistent balance weight affords continuity throughout the action, providing the pianist a mechanism to create musical expression. At times as technicians, we get caught up in the numbers and part relationships without keeping in mind the pianist' perceptions and desires. The ultimate goal is to find that balance, improving the touch and tone. Understanding the pianist's needs most often requires some geometric adjustment. Dave Swartz, RPT Cory Products www.corycare.com On Sat, Jan 22, 2011 at 9:00 AM, David Love <davidlovepianos at comcast.net> wrote: Standard practice for me. Smooth strike weight curve and accompanying FW curve being the goal. Just reweighed a Steinway A (new one) for a customer. Weight was all over the place (as was the regulation). He wanted less of a difference in down weight between bottom and top of the key board with a medium to medium heavy down weight. Sharps and naturals had different key ratios. Smoothed the SW curve, range 12 - 7 grams. Created two FW curves for the sharps and naturals. Set the balance weight at 40 for notes 1-20, 41 for notes 21 - 51, and 42 for notes 51 - 88. Front weight spread was 32 g at note 1 and about 3.5 at note 88. Repinned the hammer flanges for uniform friction customer was thrilled. Next trip work on the damper/key timing and check the damper resistance to lessen the difference in feel between playing with the damper pedal engaged and unengaged. It never ends but always worth the trouble in terms of performance. David Love www.davidlovepianos.com (sent from bb) ------------------------------------------------------------------------------ From: Ed Foote <a440a at aol.com> Sender: pianotech-bounces at ptg.org Date: Sat, 22 Jan 2011 05:21:32 -0500 (EST) To: <pianotech at ptg.org> ReplyTo: pianotech at ptg.org Subject: Re: [pianotech] Keyboard Metrology Sound-off!!! > Hello, > I am curious as to how many of my fellow techs are regularly weighing off keyboards.>> An even FW is sensed at a deeper level than the simple comparisons of DW, (perhaps on the level of telling the difference between ivory and plastic? ) However, many people playing the piano don't sense things that sensitively. So, the extra time required is not always justified. It makes little sense to weigh-off the keys and make all the adjustments necessary for a piano that is only going to be pounded on after four drinks on Christmas eve. However, out on that stage, when it all comes down to a difficult Chopin or Debussy passage,I think many pianists can feel the difference. I think this is more important for fast passage work, since effects of inertia increase with velocity. If the piano is only going to be played in, say, a funeral home, I wouldn't recommend spending on a step like this, but if it is going on stage or under a professor's hands, I consider it essential. Regards, Ed Foote RPThttp://www.uk-piano.org/edfoote/index.html -------------- next part -------------- An HTML attachment was scrubbed... URL: <http://ptg.org/pipermail/pianotech.php/attachments/20110208/00aa89a9/attachment-0001.htm>
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