William and Barbara, I had the feeling that this might be the case. It does sound mellower/softer when shifted. I'd just never seen another piano that doesn't shift a full string distance.  Even adjusting the stop a long ways it still didn't shift as far as I expected, and I couldn't understand how it could be so far outta whack when nothing else on the piano was (except for being 25c flat!) And I haven't had much occasion to adjust shift stops. On my client's Young Chang, there is an adjustable stop (like a capstan) directly above the pedal push rod. On other pianos that I've looked down there for some or other reason, I've never noticed that, and there isn't on one my Samick-made Kohler & Campbell. I'll take another gander at it before I start shaving key end widths, though I suppose I might still wind up doing that. Thanks for all the replies! Paul Bruesch Stillwater, MN <div class="gmail_quote"> On Sat, May 24, 2008 at 9:03 PM, William R. Monroe <<a href="mailto:pianotech@a440piano.net">pianotech@a440piano.net</a>> wrote: <blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;"> As Barbara mentioned, Paul, it is not always necessary/desirable that pianos need to shift a full string with the una corda.  It is a very common set-up to have the hammers shift so that all three strings are still being struck, in a position that is about 1/2 to 2/3 of the way to a full string shift. This allows one to alter the tone color while playing with the una corda fully depressed, rather than simply having a reduction in volume on full shift (two strings being struck in the grooves, while the third is missed). This being said, if you undertake to adjust the shift distance, it would be wise to first check the hammer to string spacing to make sure that is dead on.  If the hammer to string spacing is inconsistent, anything you do with the una corda is going to be inconsistent as well.  Of course, now you might be into a situation that requires shaping hammers, aligning the hammers to the strings, then adjusting the shift distance properly, THEN dealing with string leveling and voicing which will have changed............and so on. ;-] I think Owen and Don gave you some good info as well, depending upon your situation.  Your quickest might be examining the key end felts.  It wouldn't be uncommon to have the felts cut sloppily and consequently grabbing the neighboring underlever in shift position. William R. Monroe<div class="Ih2E3d"> </div></blockquote></div>