<html> <body> Hi Ric,             For several reasons. #1.   I think this is probably the most important reason.  The Psychosomatic effect on the pianist.   Well defined after touch gives the advanced player a great sense of security.   They play in a far more relaxed manner knowing that every key will behave in precisely the same manner. The tone they create becomes much sweeter and more controlled in the middle ranges. Comments like:  Is the touch deep or shallow, are invariably connected to after touch and not depth.    ( I am talking about a well regulated concert piano, before some one howls about the actual depth.) Concert pianos that I look after regularly have had the felt punching ironed so they are consistent. Sharp punching are turned over annually to ensure the key hits a flat surface..( Sharp punching's groove with heavy playing and should be turned over each time dip is adjusted)   Good pianist love consistent after touch, I am not so sure that they care about an exact amount.  Now there is a can of worms. How much after touch is deemed to be correct? #2   Stephanie, raises a valid point about key frame noise and flex.  This addition of unwanted tone is a serious factor. When rebuilding Steinway's, the superior Oak frames of the 1920's.  gives clear evidence of a quieter and more responsive action.  Resulting in better tone control. PS. I am not a lover of cheap soft  wood action frames, for the same reason that Andre does not like mushy punching's.  The soft wood frames absorb too much energy. Lowering the action saturation point.   On a well regulated / voiced Yamaha do this test. Really hit the note adjacent to the centre glide bolt, then do the same to a note mid point to the next glide bolt.  You will hear a slight difference in tone, and feel a response difference. #3  Key flex. This is related to the action saturation problem.  The more efficiently we can transfer energy from key tip to shank the better the tone control. Nothing new here, this is why maple shoes are use on concert pianos to stiffen the key.   A flexing key will alter the sensation of after touch. On a hard blow it will give the sensation of no after touch.  A Baldwin SD10 will regulate to a much more refined after touch than a Steinway D. Cry all you want about Baldwin pianos. but the key sticks are vastly superior. Sugar pine keysticks, with long maple shoes, and good long maple buttons. #4  Andre.  I have noticed a difference in tone when removing the big pile of paper/thin card punching's often found in grands. And replacing them with a few very thick card punching's. Add to this, Ironing the felt between brown paper, it makes a big improvement in consistent dip and after touch. Moral of the above points:   The pianist works with after touch to create tone. Any and all things that we can do, to make this accurate and reliable, the happier our clients will be. Andre, you have started me thinking.    OMG that's dangerous ;-)   Have you tried let off buttons with Wurzen felt?  Again we find that they are all over the map in quality and density.  When replacing them.  We first iron then with a damp cloth, to shrink them, then dry iron.  It makes a big difference in how the let off and drop regulates. Warm regards. Roger At 03:38 AM 4/3/2005, you wrote: <blockquote type=cite class=cite cite="">On 3-apr-05, at 11:18, Richar= d Moody wrote: <blockquote type=cite class=cite cite=""> When the key hits the front rail punching, the hammer has long ago left any contact with the key.    How the heck can a front rail punching affect tone after the hammer has hit the string???---ric   </blockquote> Then how else would you explain the improvemnt of touch and tone? friendly greetings from André Oorebeek <a href="http://www.concertpianoservice.nl/" eudora="autourl"> www.concertpianoservice.nl</a> "Where music is no harm can be" </blockquote></x-html> </blockquote></body> </html>