<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN"> <HTML><HEAD> <META http-equiv=Content-Type content="text/html; = charset=iso-8859-1"> <META content="MSHTML 6.00.2900.2523" name=GENERATOR> <STYLE></STYLE> </HEAD> <BODY bgColor=#ffffff> <DIV>Me too please.....Jim Dally 899 = Winesap Dr. Howard, Ohio 43028  (I'll pay postage)</DIV> <BLOCKQUOTE style="PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; = BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px"> <DIV style="FONT: 10pt arial">----- Original Message ----- </DIV> <DIV style="BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: = black">From: <A title=antares@euronet.nl = href="mailto:antares@euronet.nl">antares</A> </DIV> <DIV style="FONT: 10pt arial">To: <A = title=ilvey@sbcglobal.net href="mailto:ilvey@sbcglobal.net">ilvey@sbcglobal.net</A> ; <A title=pianotech@ptg.org = href="mailto:pianotech@ptg.org">Pianotech</A> </DIV> <DIV style="FONT: 10pt arial">Sent: Saturday, November 13, = 2004 7:01 AM</DIV> <DIV style="FONT: 10pt arial">Subject: Re: About after = touch</DIV> <DIV> </DIV>Hi David Ilvedson, Tell me your address and I will = send you a sample. Since these front punchings are conical, make sure that = the smaller side is up (it does make a difference, though subtle). On = any instrument, find a weaker note. try to imprint how it feels and how it = sounds, than exchange that punching, You 'll be amazed, like so many others. André Oorebeek On 12-nov-04, at 1:54, David = Ilvedson wrote: <BLOCKQUOTE>Made by who?  You?  I'dl like a = sample... David Ilvedson     ----- Original message ----------------------------------------> From: antares = <<?color><?param = 0000,0000,EEEE>antares@euronet.nl<?/color>> To: Pianotech <<?color><?param = 0000,0000,EEEE>pianotech@ptg.org<?/color>> Received: Thu, 11 Nov 2004 18:32:09 +0100 Subject: Re: About after touch On 11-nov-04, at 3:19, William R. Monroe wrote: One other issue that I'm still not convinced is = not part of it, is the jack to knuckle placement.  There is still plenty = of room in the window to allow for more aftertouch, and thus more clearance = of the jack from the knuckle, but I already have about .055" of aftertouch (measured by placing .055" of punchings on top of front rail felts = and seeing that escapement just barely occurs when the key is = depressed).  I hesitate to think that more aftertouch would be appropriate.  One of the very great developments of = our business here in Holland is the new front punching called "Grand = Piano Punching". I have worked for years on this and we now offer this = punching world wide. And why then is it so very nice one could = ask? Because it has a fantastic homogenous density, but at the same time it is not = too hard. It makes for a very sharp after touch, and thus for the = sharpest regulation possible. As I said, it took me years to get this = together, and it is even better than the Yamaha or Steinway punching because = of its density and firmness. I wrote about this before : after touch = should be ± 0,4 mm, meaning that after drop, and after the landing of the = hammer, we should be able to move the hammer up 0,4 mm by softly = pressing the key. If you see no movement at all, you have no after touch. If you = see a lot of movement, your front punching is too soft or you have too = much after touch.... which is it? That's why you need to make sure that = before you start a regulation, your front punching is of the right = firmness. I will explain once more : A key is like a sea saw. Usually, we = find an old car tire under both sides of the sea saw to soften the impact. Nevertheless, a little child sitting on the high end of the sea saw = will bump upwards slightly because of the impact at the lower = end. Now, if we take away the tires, the impact will be much harder and it will hurt = the behind of the child coming down, but it will also cause the other = child to almost get airborne, because the force of the impact is much stronger. That is the an analogy in regard to a more firm front = punching : It causes a more intense transfer of energy and thereby creates a = louder tone. Your regulation can be more precise, thereby giving you the = maximum tonal output. I often ask a critical technician or pianist to = listen to a particular tone and to feel its touch. I then exchange the = front punching with our own front punching, and I ask the same person = to listen and feel again. They always are flabbergasted by the = result. friendly greetings from André Oorebeek "where Music is, = no harm can be" </BLOCKQUOTE>friendly = greetings from André Oorebeek "where Music is, no harm can be" </BLOCKQUOTE></BODY></HTML>