<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:m="http://schemas.microsoft.com/office/2004/12/omml" 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 12 (filtered medium)"><style></style></head><body lang=EN-US link=blue vlink=purple><div class=WordSection1>They do produce more easy to determine dip distance but I find them generally way too hard.  A little give in the punching I find desirable for the sake of the pianist’s finger and often for the sake of noise and key thumping.  Our ability to set precise dip by having a punching that doesn’t compress is secondary, moreover, unimportant.  You don’t play the piano by setting dip.  <o:p></o:p><o:p> </o:p><div>David Love<o:p></o:p>www.davidlovepianos.com<o:p></o:p></div><o:p> </o:p><div><div style='border:none;border-top:solid #B5C4DF 1.0pt;padding:3.0pt 0in 0in 0in'>From: pianotech-bounces@ptg.org [mailto:pianotech-bounces@ptg.org] On Behalf Of Paul Williams Sent: Tuesday, October 09, 2012 7:14 AM To: pianotech@ptg.org Subject: Re: [pianotech] Hammer Blow<o:p></o:p></div></div><o:p> </o:p><div>I've been also using the crescendo punchings for the past couple years and love working with them…waaaay more consistent results.<o:p></o:p></div><div><o:p> </o:p></div><div>Paul<o:p></o:p></div><div><o:p> </o:p></div><div><o:p> </o:p></div><div style='border:none;border-top:solid #B5C4DF 1.0pt;padding:3.0pt 0in 0in 0in'>From: Dale Erwin <<a href="mailto:erwinspiano@aol.com">erwinspiano@aol.com</a>> Reply-To: "<a href="mailto:pianotech@ptg.org">pianotech@ptg.org</a>" <<a href="mailto:pianotech@ptg.org">pianotech@ptg.org</a>> Date: Tuesday, October 9, 2012 8:51 AM To: "<a href="mailto:pianotech@ptg.org">pianotech@ptg.org</a>" <<a href="mailto:pianotech@ptg.org">pianotech@ptg.org</a>> Subject: Re: [pianotech] Hammer Blow<o:p></o:p></div><div><o:p> </o:p></div><div><div>Hi Floyd <o:p></o:p><div> Dittos on Jons post. <o:p></o:p><div>   <o:p></o:p><div>  And just the squish factor of the avergae supply house front punching changes the feel and amount of overall dip/aftertouch based on touch pressure. They squish as much as .035 compared to .015 for Jurgens crescendo punchings. If you're looking for more precision in key dip/aftertouch its only logical use the latter to reduce errors from variables<o:p></o:p><div>Dale Erwin R.P.T. Erwin's Piano Restoration Inc. Mason & Hamlin/Steinway/U.S. pianos <a href="http://www.Erwinspiano.com">www.Erwinspiano.com</a> Phone: 209-577-8397 <tt> </tt> <tt>  </tt><o:p></o:p></div><o:p> </o:p><div>-----Original Message----- From: Jon Page <<a href="mailto:jonpage@comcast.net">jonpage@comcast.net</a>> To: pianotech <<a href="mailto:pianotech@ptg.org">pianotech@ptg.org</a>> Sent: Tue, Oct 9, 2012 4:29 am Subject: Re: [pianotech] Hammer Blow<o:p></o:p><div id="AOLMsgPart_0_4dc601ce-6494-4815-825c-66d7b36d40c3"><pre style='background:white'><tt> >This week I'm going to see what happens to my hammer line if I set <o:p></o:p></tt></pre><pre style='background:white'><tt>hammer blow to achieve a specified amount of aftertouch.  I've set the <o:p></o:p></tt></pre><pre style='background:white'><tt>key height, >key dip and letoff.  I'll put the action in the piano, use a .045 punching with a notch cut out so I can slide it onto the front <o:p></o:p></tt></pre><pre style='background:white'><tt>rail pin over the cloth >punching with the key installed, and set the <o:p></o:p></tt></pre><pre style='background:white'><tt>hammer blow for each of the white keys such that a weight on the key (I <o:p></o:p></tt></pre><pre style='background:white'><tt>forget how many grams, and I'm >not in the shop to check) brings it <o:p></o:p></tt></pre><pre style='background:white'><tt>almost to let-off, and a slight downward tap on the key will take it <o:p></o:p></tt></pre><pre style='background:white'><tt>through let-off. Theoretically, the straightness of >the hammer line I <o:p></o:p></tt></pre><pre style='background:white'><tt>achieve with this procedure should allow me to evaluate how successful I <o:p></o:p></tt></pre><pre style='background:white'><tt>was in setting even key dip and consistent aftertouch.<o:p></o:p></tt></pre><pre style='background:white'><tt><o:p> </o:p></tt></pre><pre style='background:white'><tt>Your hammer line will become erratic by doing this because of the <o:p></o:p></tt></pre><pre style='background:white'><tt>slightly different Key Ratios between notes. That procedure is what you <o:p></o:p></tt></pre><pre style='background:white'><tt>do to set an even touch with a priority given to aftertouch. But to do <o:p></o:p></tt></pre><pre style='background:white'><tt>this, you alter the dip not the blow distance. Keys level, hammer line <o:p></o:p></tt></pre><pre style='background:white'><tt>level, key dip slightly uneven. The pianist feels a even aftertouch and <o:p></o:p></tt></pre><pre style='background:white'><tt>not an uneven key dip. Altering the blow on an individual basis will <o:p></o:p></tt></pre><pre style='background:white'><tt>introduce volume discrepancies brought on by varying blow distances.<o:p></o:p></tt></pre><pre style='background:white'><tt><o:p> </o:p></tt></pre><pre style='background:white'><tt>Aftertouch calibration by varying dip slightly is essential to a smooth <o:p></o:p></tt></pre><pre style='background:white'><tt>feeling action.<o:p></o:p></tt></pre><pre style='background:white'><tt><o:p> </o:p></tt></pre><pre style='background:white'><tt>-- <o:p></o:p></tt></pre><pre style='background:white'><tt>Regards,<o:p></o:p></tt></pre><pre style='background:white'><tt><o:p> </o:p></tt></pre><pre style='background:white'><tt>Jon Page<o:p></o:p></tt></pre><pre style='background:white'><tt><o:p> </o:p></tt></pre></div></div></div></div></div></div></div></div></body></html>