<HTML> Del, when you mentioned that the key level must be exact, do you level the sharps to the naturals, using a specified height that the sharps are to be higher at rest than the naturals? Or are we speaking of even key level measured behind the sharps, all keys the same height as measurement with a straight edge.  Maybe there is a 3rd way key leveling can be accomplished.  I would love to hear what different ways there are for different technicians. On your comment not being able to feel small differences in aftertouch, all else in the action being correct, I disagree.  I'm not that good of a performer, but even I can tell when playing + - 0.005.  Am I alone here in picking these differences up? Delwin D Fandrich wrote: <BLOCKQUOTE TYPE=CITE>  A440A wrote: <BLOCKQUOTE TYPE=CITE>Dave asks: <<am I the only tech who sets the dip in the sharps as equal aftertouch to the naturals? >>     I set the aftertouch to be consistant.  If the keydip is to be even, then usually the hammerline has to be sacrificed.    On the closest regulations,  I set the keys with a consistant measured key dip, then, as I set aftertouch, if a key requires more than .010" alteration, I move the hammer to compensate.  This splits the difference of geometry inconsistancies between key travel and hammer travel,  a lot of work, but there are some players out there that home right in on it. Regards, Ed Foote</BLOCKQUOTE> --------------------------------------------------- But what is it they are homing in on? Are you sure it is aftertouch? In the work I did, lo those many years ago, I really didn't find anyone who actually felt the slight variations in aftertouch -- and I do mean slight -- if the other parameters were absolutely consistent. At least not in any real world performance situation. In other words, if the hammerline/blow distance was accurate & consistent, the letoff distance accurate & consistent, the jacks properly set and the repetition lever height correctly set to the jack, the backchecking consistent, the repetition lever upstop screw set properly, and perhaps most of all key travel precisely set. Yes, including the sharps. (So, did I leave anything out?) It seemed to me at the time that what they did feel were even slight variations in key travel -- i.e., key dip. If there were variations in action geometry that were significant enough to affect aftertouch by some noticeable amount, they needed to be fixed prior to beginning final action regulation. And there often were. Usually they were traced to improperly installed knuckles. It was a fairly easy matter to pop the offender(s) out and glue it(them) back in properly. In fact, with the actions found in the new pianos I worked on in that era, this was a fairly common task and was done before the actions got even their first shop regulation. It is usually taught that the jack should be aligned to the knuckle. The problem with this practice is that the key/hammer lever ratio becomes a variable. A better practice, then, is to set the tips of the jacks in a straight line relative to the average knuckle c/l and then reset the wild knuckles so that they are properly aligned to the jacks. I tested this notion only a few times -- and then it wasn't what you could call a thoroughly scientific test, just enough to satisfy my personal curiosity -- by setting up actions as precisely as I could and then varying the jack letoff point. Except under very soft key strokes no one really noticed much difference. And then it was because some hammers didn't have enough momentum to carry them through letoff. Their motion would stop before they were able to impact the strings if the letoff point was set too far away from the string. In other words what the pianists noticed was that there was no sound. At the time I didn't try varying the hammer blow distance which would have introduced other problems. Also, I didn't think of it. So, has anyone else actually tested actions in this way? If so, how? What was the procedure used. One more point: In my earlier post I probably should have made more of a point of the fact that uniform key height and level is absolutely essential to this process. And yes, that includes the height and level of the sharps. Sharp leveling and travel distance (dip) should receive just as much attention as is lavished on the naturals. In setting key level it also helps to have thin and firm felt punchings. Leave the thick felt punchings for pedal pin bushings or something. It is also helpful to use more thicker paper punchings and fewer thin punchings if possible. As well, it is helpful to have fairly thin and firm key back rail felt. Regards, Del</BLOCKQUOTE>  </HTML>