<HTML><HTML>David writes: <BLOCKQUOTE CITE STYLE="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px" TYPE="CITE">>>Currently I use a method similar to the one described by Ed Foote, but which, to clarify, involves transferring and retaining settings made originally in the piano itself, not created originally on the bench.<< </BLOCKQUOTE>    Hmm,  I may have been foggy on that point.  I set the key level in the piano, and then set the dip on the end keys of each section,(after regulating blow and let-off)  in the piano.  Then it is easy to recreate the same aftertouch when I get the piano on the bench.  I do most jobs dip at the piano, and found that using a "bleacher seat" with a back to it to be invaluable for comfort.  Working while sitting on the floor also lets me throw punchings around so that I don't have to constantly reach into the box, but rather, just pick up what I need from around me.  <BLOCKQUOTE CITE STYLE="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px" TYPE="CITE"> </BLOCKQUOTE>>>Ed mentions crescendo punchings by which, I am assuming,. he means <BLOCKQUOTE CITE STYLE="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px" TYPE="CITE">front punchings. I agree that they make it much easier to interpret and set precise dip, though I am still not sure I like the reduced cushion.<< </BLOCKQUOTE> I have changed my philosophy because of these things.  On the concert pianos, I toss the front punchings after a couple of years.  It is only $ 20 worth of parts and is of little consequence when there is a $ 1000 regulation/repinning/hammer filing job depending on me.  regards. <BLOCKQUOTE CITE STYLE="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px" TYPE="CITE"> >Ed Foote RPT </BLOCKQUOTE> ************************************** Get a sneak peak of the all-new AOL at http://discover.aol.com/memed/aolcom30tour</HTML>