stuck

Charles K. Ball ckball@mail.utexas.edu
Thu, 23 Jul 1998 07:12:42 -0600 (MDT)


Dear Paul,

I too have encountered this problem of the hammer back shoulders bumping on
the tops of the backchecks.  Usually this is the result of a low string
height.  When the string height is low, the backchecks need to be lower as
well.

To determine correct backcheck height, slowly play sample hammers through
escapement and drop, but not through aftertouch.  At that point the hammer
tail should be a couple of millimeters above the top of the backcheck.  For
me this problem is usually most apparent in the lower end of the middle
register, say from note #21 on up a bit.  If you find that the backchecks
are indeed too high, you may be able to tap the backchecks down on the
fluted wire; otherwise you may be faced with pulling them from the key and
reinstalling, perhaps with a new set.

Regarding the jack jamming into the felt in the window of the repetition,
this is usually caused by a spread problem, assuming that the regulation is
correct.  My understanding is that the Steinway & Sons specification for
spread has changed slightly since they converted to the "improved"
goemetry.  So it would appear that you will need to determine the knuckle
set of the shanks and flanges used before you can determine the correct
spread for that design.

Personally, I prefer a blow distance of 1 3/4" to 1 7/8" for a Steinway B.
Widening the blow would reduce the jack travel, but would exascerbate the
backcheck problem.  Removing some of the butt felt in the window could
result in the jack clicking against the tip of the hammershank flange upon
a hard blow.  Practically, however, unless the jamming of the jack is
inhibiting key travel I would not be overly concerned about it (the key
travel should be stopped by the front rail punching, not the jack).

A easy solution may ultimately be to widen the blow as long as this leaves
you with sufficient aftertouch.  This may be one of those situations where
you need to keep aftertouch to a minimum in order to make the action work
without a major redesign.

Regards,

Charles


Charles Ball, RPT
School of Music
University of Texas at Austin
ckball@mail.utexas.edu




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