[CAUT] Fw: Erard settings

[ed440 at mindspring.com]

-----Forwarded Message-----
>From: Anne Acker <a.acker at comcast.net>
>Sent: Apr 12, 2007 8:52 PM
>To: ed440 at mindspring.com
>Subject: Erard settings
>
>Hi Ed,
>
>Can you forward this to the CAUT list?  I removed myself for a while.  It was taking too much time.
>*******
>
>How lovely to have two fine Erards, and even better to find somebody who wants to do it "right"!
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>I may be able to help a wee bit as I have a fair amount of experience with French pianos.
>
>My experience with Erards ranges from the 1840's to 1900.   This company were conservative in their development, so there is not so very much change in settings, but remember that different designs within the firm will have different specs, just as they do within a company today and of course there is some variation with each year.    The Louchet article has specifications which are helpful, but incomplete, and I am not in complete agreement with them.    They are useful as a starting point.
>
>The first things to remember are 1) the keydip is usually 3/8", or about 9.5 mm, so 10 mm would not be extraordinary, nor would 9 mm. and 2) the hammer throw is larger than you would expect in 19th century pianos based on studying anybody BUT Erard.  2" is not unusual, and I have found 2 1/4" hammer throw on an 8 ft. concert grand.  Despite the evidence regarding the action ration here, this piano are not heavy or ponderous to play, but very comfortable in the fingers as the mass being accelerated is appropriate (provided you have not put overly heavy modern hammers on the piano).    
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>As for the keyheights,.  nineteenth century piano makers did not use huge stacks of punchings.  If you are lucky, the originals are still there, so you can make some allowance for compression and age and decreptitude and duplicate the keyheight fairly accurately.
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>Also critical.  the knuckle is normally very small, and must not be covered with too thick or spongy of leather, or you will quickly discover why not.  The jack will not return properly under the knuckle and there you are, blocking away no matter how much you fuss with the let off.
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>There is no substitute for patience and experimentation when dealing with 19th century piano regulation.    Study and sleep with the geometry and you will figure it out.
>
>Anne Beetem Acker
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