<HTML><FONT FACE=arial,helvetica><FONT SIZE=2 FAMILY="SERIF" FACE="Times New Roman" LANG="0"><I>In a message dated 8/14/2002 10:13:45 AM Pacific Daylight Time, fordpiano@earthlink.net writes:<BR>
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</FONT><FONT COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=3 FAMILY="SERIF" FACE="Times New Roman" LANG="0"></I> Hi Phil<BR>
Personally I'd rather compromise the hammer blow and leave the dip consistently the same top to bottom. Use the after touch regulators (capstans) to accomplish this. It's easier to touchup the after touch doing it this way than futzing with paper punchings. JMHO.<BR>
Dale</FONT><FONT COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=3 FAMILY="SANSSERIF" FACE="Arial" LANG="0"><BR>
</FONT><FONT COLOR="#000000" style="BACKGROUND-COLOR: #ffffff" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0"><BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px"><BR>
My own personal feeling is that more keydip in the bass feels natural and I<BR>
often set actions up like this. Pianists who have given feedback have seemed<BR>
to like the actions, but I've never done a direct A-B comparison between<BR>
uniform keydip and keydip graduated from bottom to top to see if they prefer<BR>
the graduated keydip. Any thoughts about this? Any feedback from pianists on<BR>
this?<BR>
<BR>
Phil Ford<BR>
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