<html> <body> Hi Isaac,             &nbs= p;     Concert prep is done for each individual pianist, the piano is always put back to a more normal regulation after the gig. But those Yamaha frames, seem to like some tension in them.  Steinway's with Kluge key beds. much the same thing. I prefer hardwood frames, and I am well aware of both arguments.  Just less action saturation with the hardwood frames. IMHO. I guess the most important thing to come from this thread, is that for a performance piano, key bedding should be checked and double checked..    Regards roger At 06:03 AM 5/24/2003 +0200, you wrote: <blockquote type=cite class=cite cite>Yes Roger,   On the other hand, that kind= of treatment is in the end abuse to the instrument, Japanese use to say that it is unfortunate, but concert prep is in the meantime destroying the instrument.   Warping up the stack more an= d more on Steinways finally warp the wood more or less definitively I guess.   On soft wood less problems, = but still the action  may suffer if overdriven mode is considered (shanks on cushion, etc) as its normal regulation.   I guess you put things more "civil" after hours, if you want to keep your instrument longer is not it ?   Best Regards Isaac OLEG Entretien et réparation de pianos. PianoTech 17 rue de Choisy 94400 VITRY sur SEINE FRANCE tel : 033 01 47 18 06 98 fax : 033 01 47 18 06 90 cell: 06 60 42 58 77 <dl> <dd>-----Message d'origine----- <dd>De : pianotech-bounces@ptg.org [<a href="mailto:pianotech-bounces@ptg.org" eudora="autourl">mailto:pian= otech-bounces@ptg.org</a>]De la part de Roger Jolly <dd>Envoyé : samedi 24 mai 2003 00:33 <dd>À : Pianotech <dd>Objet : Re: No Power Yamaha revisited <dd>You got it TOYOTA!   <G>   Do it this way even when you don't think there is a problem, and note the results.  You are going to be surprised. <dd>  On some Concert grands for favorite pianist,  I will have the cheek blocks in and tight, and just tension the rail a little,  then restore after touch by lowering the hammer line. Neat trick for a big concerto, for a not so big piano.  Shush!  did I say that. <dd>Have a good week end. <dd>Roger <dd>At 12:49 PM 5/23/2003 +0200, you wrote: <blockquote type=cite class=cite cite> <dd>Thanks muchly Roger... <dd>seems to be the description that makes the most sense so far. Very roughly then, adjust the glide bolts so that they all are in contact with the bed, AND all lift the balance rail to the point that the Front Rail is just a nats butt away from being lifted as well... <dd>Key height and the rest is set afterwards. <dd>Correcto ? <dd>  <dd>Roger Jolly wrote: <blockquote type=cite class=cite cite> <dd>Hi Avery & Ric, <dd>            =             &nbs= p; I have a good minds eye view, of what is going <dd>on, but I'm not so sure I can explain it well.   But here goes.  (Send me a <dd>deluxe flame suit Conrad). <dd>If you have the bolts just touching, there is no compression force acting <dd>on the balance rail.  With rapid forceful playing, there is a small amount <dd>of bounce taking place at the balance rail, robbing the action of a lot of <dd>energy.  It gets dissipated within the frame. <dd>Jack the bolts a little further down,  you start to bow the cross <dd>struts.  and putting some compression into the rail. , and firmly seating <dd>it to the bed.   At the Yamaha Technical Academy, they spend a good deal of <dd>time teaching you how to tune these rails in aurally.  takes more than a <dd>little practice to get optimum results. <dd>The front rail is done first, by tapping on the front rail with a kind of <dd>45 degree blow, to the leading edge of the rail.  (You can hear better than <dd>the traditional method of holding a key down and thumping on the key, the <dd>front rail punching absorbs a lot of noise,) Then the bolts are adjusted so <dd>the front rail just starts to lift, then back off about 1/4 turn.  Next <dd>step is get all the glides bedded so the tone is the same when lifting up <dd>on the hammer rail, and thumping down on the balance rail. <dd>The closest analogy I can think of,  is like string bearing across the <dd>bridge.  Too much bearing and a loss of tone, too little loss of tone. <dd>Now I will crawl under my rock and smile. <dd>Regards Roger <dd>  <dd> </blockquote> <dd>Cheers <dd>RicB <dd>-- <dd>Richard Brekne <dd>RPT, N.P.T.F. <dd>UiB, Bergen, Norway <dd><a href="mailto:rbrekne@broadpark.no">mailto:rbrekne@broadpark.no</a> <dd><a href="http://home.broadpark.no/~rbrekne/ricmain.html"= eudora="autourl">http://home.broadpark.no/~rbrekne/ricmain.html</a> <dd><a= href="http://www.hf.uib.no/grieg/personer/cv_RB.html">http://www.hf.uib.n= o/grieg/personer/cv_RB.html</a> <dd>  </blockquote> </dl></blockquote></body> </html>