Euro-style aftertouch

[Jon Page]

Prepare yourself for the possibility of a sticker action. The one Ibach which
I service has this but does not use a rocker, it has a turnbuckle between the
wippen and the wooden 'clip' which seats in the center pin mount on the key.

I have found this system to have less friction than a capstan/cushion
arrangement
and adjusts well and maintains it without problems.

As far as aftertouch, these hammers are worn be as I recall there is the
standard
operational 'feel' to it. So aside from the possibility of this sticker, it is
a normal action
and should operate as such given optimal working parameters.

Jon Page
At 01:29 PM 4/2/99 -0500, you wrote:
>List,
>
>In some Euro pianos, I'm aware of what could be considered "minimal
>aftertouch". Some may be inclined to say none. My first experience was long
>ago with an old Bechstein grand (leather key bushings maybe?). I'm now
>faced with an old Ibach that brings back memories of that Bechstein. I've
>been asked to do _something_ with the piano. Considering it was built in
>1913... well, let's just say my initial suggestion wasn't accepted very
>well ! %-}
>
>When I tested the piano from a pianist's standpoint, it was like playing
>the end of a kitchen table. There was no tactile feedback to the player as
>to where the bottom of key travel actually was. I didn't have time do pull
>the action to check or measure anything. However, from a technical
>standpoint, I have the following questions:
>
>Anyone with more experience with old Ibachs?
>Do they (originally) qualify for the 'minimum' aftertouch phenomenon?
>Are new keyframe cloth/felts going to help a little/lot/none?
>Will I have room to play with key height/dip parameters (keyslip, f/b,
>cheekblocks)?
>
>On a related matter, same piano. I last played a -new- Ibach about 18
>months ago. Since I only played it for about 20 seconds, I don't remember
>the touch, because it was strident enough to break glass, and it hurt my
>ears! Speaking of strident...
>
>This old one is just the opposite... no power, gutless wonder. If -real-
>cotton balls were ever used to make piano hammers, this is the one. The
>hammers are shot, are being considered for replacement, and are really not
>good indicators. I plan to do a few samples with new token hammers to get a
>better feel. However, assuming crown, bearing are okay (which I don't
>know), what -should- I expect as a "signature" sound for this instrument? A
>pluck test tells me there's more than is being provided by cot... um,
>hammers, but that I might not expect more than a warm, cushy, Knabe-ish
>sound on completion of work. If so, I can live with it, but I'd like some
>input from those who have dealt with the brand and the era.
>
>Summary: I _am_ trying to change the aftertouch part -- it's currently
>unacceptable to the player (although she didn't know why). I'm _not_ trying
>to make the piano into something it was never intended to be in terms of
>power or dynamics. 
>
>TIA,
>
>
>Jim Harvey, RPT
>Greenwood, SC
>harvey@greenwood.net
>________________________
>  Greenwood: the land that time forgot.
>