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<DIV><FONT size=2>Phil:</FONT></DIV>
<DIV><FONT size=2></FONT> </DIV>
<DIV><FONT size=2>It's the overall action ratio that will determine =
the
difference in regulation from one end to the other. We are =
assuming that
all other things are equal. Assuming they are, then the ratio in =
the bass
end will be lower and require more dip or blow than the treble. =
Assuming
you don't want to reset the capstan line, you can compensate for this =
somewhat
by increasing the spread between the wippen flange and the hammer flange =
as you
ascend through the action. The increased spread will lower the =
action
ratio. You might try a few samples in the treble first. Shim =
out a
couple of flanges by about a millimeter and regulate a few sample notes =
and
check for equivalency in the bass (you can also recalculate the ratio =
itself on
each end of the action and see if it isn't more equal). It's not a =
perfect
solution, but if you want the regulation to be equal and you don't want =
to reset
the capstan line, this is an alternative to consider.</FONT></DIV>
<DIV><FONT size=2></FONT> </DIV>
<DIV><FONT size=2>David Love</FONT></DIV>
<BLOCKQUOTE
style="PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
<DIV style="FONT: 10pt arial">----- Original Message ----- </DIV>
<DIV
style="BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: =
black"><B>From:</B>
<A title=Erwinspiano@AOL.COM
href="mailto:Erwinspiano@AOL.COM">Erwinspiano@AOL.COM</A> </DIV>
<DIV style="FONT: 10pt arial"><B>To:</B> <A =
title=pianotech@ptg.org
href="mailto:pianotech@ptg.org">pianotech@ptg.org</A> </DIV>
<DIV style="FONT: 10pt arial"><B>Sent:</B> August 14, 2002 8:50 =
PM</DIV>
<DIV style="FONT: 10pt arial"><B>Subject:</B> Re: More dip in =
bass</DIV>
<DIV><BR></DIV><FONT face=arial,helvetica><FONT lang=0 =
face="Times New Roman"
size=2 FAMILY="SERIF"><I>In a message dated 8/14/2002 10:13:45 AM =
Pacific
Daylight Time, <A
href="mailto:fordpiano@earthlink.net">fordpiano@earthlink.net</A>
writes:<BR><BR> </FONT><FONT lang=0
style="BACKGROUND-COLOR: #ffffff" face="Times New Roman" =
color=#000000 size=3
FAMILY="SERIF"></I> Hi Phil<BR> Personally =
I'd rather
compromise the hammer blow and leave the dip consistently the same top =
to
bottom. Use the after touch regulators (capstans) to accomplish this. =
It's
easier to touchup the after touch doing it this way than futzing with =
paper
punchings. JMHO.<BR> Dale</FONT><FONT lang=0
style="BACKGROUND-COLOR: #ffffff" face=Arial color=#000000 =
size=3
FAMILY="SANSSERIF"><BR></FONT><FONT lang=0 =
style="BACKGROUND-COLOR: #ffffff"
face=Arial color=#000000 size=2 FAMILY="SANSSERIF">
<BLOCKQUOTE
style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #0000ff 2px =
solid; MARGIN-RIGHT: 0px"
TYPE="CITE"><BR>My own personal feeling is that more keydip in the =
bass
feels natural and I<BR>often set actions up like this. =
Pianists who
have given feedback have seemed<BR>to like the actions, but I've =
never done
a direct A-B comparison between<BR>uniform keydip and keydip =
graduated from
bottom to top to see if they prefer<BR>the graduated keydip. =
Any
thoughts about this? Any feedback from pianists
on<BR>this?<BR><BR>Phil Ford<BR></BLOCKQUOTE><BR></FONT><FONT =
lang=0
style="BACKGROUND-COLOR: #ffffff" face="Times New Roman" =
color=#000000 size=2
FAMILY="SERIF"><I><BR></BLOCKQUOTE></I></FONT></FONT></BODY></HTML>