[CAUT] F..riction

[Alan Eder]

Hi Ed,


Your regulation priorities are nearly identical to the ones I follow.  Just out of curiosity, when you say that in order to achieve consistent aftertouch: 


This is done by allowing keydip to vary by .010" 


does that mean plus or minus .005" from whatever your target key dip is, or is it usually more like up to .010" deeper dip?


And let me add my voice to the chorus of those thanking you for your eloquent concept of "scattering."



Alan Eder




-----Original Message-----
From: Ed Foote <a440a at aol.com>
To: caut <caut at ptg.org>
Sent: Thu, Dec 9, 2010 4:50 am
Subject: Re: [CAUT] F..riction


David writes:
>>  A smooth FW curve and smooth SW curve in which the BW is allowed to 
float can easily produce irregularities of a couple of grams.  What is 
more perceptible, BW differences or FW weight differences that result 
in differences in inertia?  Rhetorical question really as I think it's 
pretty difficult to answer but one may find oneself in the position of 
having to make the choice or compromise both a little bit.  In reality, 
it may be much ado about nothing.  <<

  I think by "scattering" the irregularities around, they disappear.  
So, I begin with a smooth FW and SW, coupled by samples through the 88 
keys to arrive at values for both that keep me within bounds of the BW 
I am looking for.  Upon assembly, I always find that there are some 
notes that simply don't fall into line with the DW, so for those that 
are too heavy(DW), I touch off a little bit of the hammer(belt sander 
on the sides), and for those that are too light, I use a 1/4" drill to 
remove a bit of lead from the most proximal keylead.  This leaves me 
with near perfect DW and pianists have always felt that the actions 
done like this are extremely even.
     I also scatter the regulation to create exactly even aftertouch.  
This is done by allowing keydip to vary by .010" and also raising or 
lowering the hammer by as much as a mm or so. I keep the let-off and 
drop as consistent as I can possibly set it.  I also use much softer 
springing than any of the factory actions I see.
  This approach is difficult to use on a production line, but put 
together generally puts the pianists totally at ease with the control. 
I, and my ears, are getting older.  I don't voice as well as I used to, 
but a really killer regulation will make up for some of that.  Mischa 
Dicter (sp?) once remarked about my action that "There is a little bit 
of voicing irregularity there in the fifth octave, but with an action 
like that it is no problem".  ( He actually believed it was a specially 
prepared piano that had been sent from Atlanta, and at first said that 
"Ron really did a great job on that one!)
Regards,

Regards,
Ed Foote








 
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