<html xmlns:v="urn:schemas-microsoft-com:vml" xmlns:o="urn:schemas-microsoft-com:office:office" xmlns:w="urn:schemas-microsoft-com:office:word" xmlns:st1="urn:schemas-microsoft-com:office:smarttags" xmlns="http://www.w3.org/TR/REC-html40"> <head> <meta http-equiv=Content-Type content="text/html; charset=us-ascii"> <meta name=Generator content="Microsoft Word 11 (filtered medium)"> <o:SmartTagType namespaceuri="urn:schemas-microsoft-com:office:smarttags" name="PostalCode"/> <o:SmartTagType namespaceuri="urn:schemas-microsoft-com:office:smarttags" name="State"/> <o:SmartTagType namespaceuri="urn:schemas-microsoft-com:office:smarttags" name="City"/> <o:SmartTagType namespaceuri="urn:schemas-microsoft-com:office:smarttags" name="place"/>  <style>  </style>  </head> <body bgcolor=white lang=EN-US link=blue vlink=blue> <div class=Section1> >>and let's take the simplest case of removing a punching at the front rail - the repetition travels farther, pushing the hammer into the string after letoff. To correct it, we lower the drop screw. However, that means it's on the drop screw longer before letoff occurs, it compresses the spring more, and tends to have more resistance and a spongier feel.<o:p></o:p> <o:p> </o:p> <o:p> </o:p> This is becoming increasingly frustrating to me as my regulating skills continue to develop. I never used to notice it but now I do and it bugs me. So, how does one reduce the time on the drop screw? Reduce blow distance? Reduce action spread? Move knuckle? <o:p></o:p> <o:p> </o:p> Usually there are two scenarios we are talking about: one is just doing a regulation, the other is when extensive action work is involved (changing parts). If the latter one would certainly have opportunity to make additional changes, such as varying the bore distance on the hammer. So I guess I am looking for two answers, one for each situation. <o:p></o:p> <div> Dean<o:p></o:p> <u1:PERSONNAME u2:st="on">Dean May</u1:PERSONNAME>             cell 812.239.3359 <o:p></o:p> PianoRebuilders.com   812.235.5272 <o:p></o:p> <u1:PLACE u2:st="on"><u1:CITY u2:st="on"><st1:place w:st="on"><st1:City w:st="on"><u3:place u4:st="on"><u3:City u4:st="on">Terre Haute</st1:City></u3:place></u1:CITY></u3:City> <u1:STATE u2:st="on"><st1:State u5:st="on"><st1:State w:st="on">IN</st1:State></u1:STATE></st1:State>  <u1:POSTALCODE u2:st="on"><st1:PostalCode u6:st="on"><st1:PostalCode w:st="on">47802</st1:PostalCode></u1:POSTALCODE></st1:PostalCode></st1:place></u1:PLACE><o:p></o:p> </div> <o:p> </o:p> <div> <div class=MsoNormal align=center style='text-align:center'> <hr size=2 width="100%" align=center tabindex=-1> </div> From: pianotech-bounces@ptg.org [mailto:pianotech-bounces@ptg.org] On Behalf Of BobDavis88@aol.com Sent: Wednesday, January 30, 2008 7:42 PM To: pianotech@ptg.org Subject: Re: Korean Dip<o:p></o:p> </div> <o:p> </o:p> <div> <div> In a message dated 1/30/2008 3:41:06 PM Pacific Standard Time, paulrevenkojones@aol.com writes:<o:p></o:p> </div> <blockquote style='border:none;border-left:solid blue 1.5pt;padding:0in 0in 0in 4.0pt; margin-left:3.75pt;margin-top:5.0pt;margin-bottom:5.0pt'> Aftertouch, as a component and resultant of regulation, becomes so apparent!<o:p></o:p> </blockquote> </div> <div> I've always thought that the various effects of aftertouch were underrated. When I was first learning, it was presented as a "safety factor" in case of compaction of the knuckles, etc., so the action would still have escapement. However, other things happen. For instance, if we increase the aftertouch - and let's take the simplest case of removing a punching at the front rail - the repetition travels farther, pushing the hammer into the string after letoff. To correct it, we lower the drop screw. However, that means it's on the drop screw longer before letoff occurs, it compresses the spring more, and tends to have more resistance and a spongier feel. Conversely, shortening aftertouch makes the contact with the drop screw later in the sequence, and speeds up the repetition.<o:p></o:p> </div> <div>  <o:p></o:p> </div> <div> I also haven't seen mention of its effect on checking. If the checking is as high as possible without the hammer tail dragging on the check on the way up, then we allow the key to go down farther, the backcheck moves farther, catching the hammer higher, which is also good for repetition. As everything in the piano, a tradeoff.<o:p></o:p> </div> <div>  <o:p></o:p> </div> <div> I don't have a fixed distance for aftertouch - it's dependent upon how the action feels. Over the last two days, I have regulated a new Kawai RX-3 and a new Mason & Hamlin A. For a variety of reasons, the Kawai would accept more aftertouch than the M&H without balking, although it wasn't necessary. The jack drag in the M&H was great enough that the minimum seemed the only choice.<o:p></o:p> </div> <div>  <o:p></o:p> </div> <div> On a performance instrument, I usually start without very much aftertouch, maybe .025-.030. Some pianists feel insecure without the resistance at the bottom, and for them, it's usually enough to put the hammer line up 2-3 mm and run the drop back up, which doesn't take long, and they don't usually notice the loss of power. There's usually not time in a concert situation to change the dip.<o:p></o:p> </div> <div>  <o:p></o:p> </div> <div> Anyway, there's more going on than "safety factor."<o:p></o:p> </div> <div>  <o:p></o:p> </div> <div> Bob D<o:p></o:p> </div> <o:p></o:p> <div> <div class=MsoNormal align=center style='margin-top:7.5pt;text-align:center'> <hr size=2 width="100%" align=center> </div> Start the year off right. <a href="http://body.aol.com/fitness/winter-exercise?NCID=aolcmp00300000002489" target="_blank" title="http://body.aol.com/fitness/winter-exercise?NCID=aolcmp00300000002489">Easy ways to stay in shape</a> in the new year. <o:p></o:p> </div> </div> </body> </html>