Just want to second Ed's priorities and protocols.
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<div>Alan Eder<br>
<br>
<br>
-----Original Message-----<br>
From: A440A@aol.com<br>
To: pianotech@ptg.org<br>
Sent: Thu, 14 Feb 2008 12:06 pm<br>
Subject: Re: basic regulating question
<div id="AOLMsgPart_0_e3df256d-7993-4c48-a394-86673291b571" style="margin: 0px;font-family: Tahoma, Verdana, Arial, Sans-Serif;font-size: 12px;color: #000;background-color: #fff;"><pre style="font-size: 9pt;"><tt>
I have found that artists a FAR more sensitive to let-off
irregularites than they are slight changes in keydip. If I had to alter
anything to
make the after-touch even while keeping the same key-dip, it would be the blow!
But I submit that keydip is less important than aftertouch.
At the very top of the line regulation, I alter keydip AND blow so that
aftertouch is identical. When doing this, I first set the keydip to a static
value and make sure all keys are equal. If, with an consistant blow, I have
unequal aftertouch, I will move the keydip as much as .010" and the blow as
much as .060" from the predetermined specs. The effect of splitting the
difference like this,(between the dip and blow) is to make all the
irregularities
fall below the threshold of even the most sensitive pianists.
I have never seen any pianist notice .010" difference in keydip if the
aftertouch was even, but I have been called back for having less than 1/16"
difference between let-offs, (Ronnie Milsap is able to tell instantly if the
let-off is not exactly even, but he never noticed the slight difference in dip.)
Regards,
Ed Foote RPT
<a href="http://www.uk-piano.org/edfoote/index.html" target="_blank">http://www.uk-piano.org/edfoote/index.html</a>
<a href="http://www.uk-piano.org/edfoote/well_tempered_piano.html" target="_blank">www.uk-piano.org/edfoote/well_tempered_piano.html</a>
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