Dear List, After reading several views about key leveling, I would like to put the procedure in perspective. The technique of making a cut in a balance rail punching and inserting it under the balance rail punching (or bearing in most Steinways) is a great idea but I hardly think you could use it as a basic key leveling procedure. It is best used as a final touch up technique. Here, in a nutshell, is how I was taught key leveling by Bill Garlick RPT at the Steinway factory seminar in 1986. (My colleagues at that seminar turned out to be some of the most prominent and influential PTG technicians today: Gina Carter, Karen Hudson-Brown ((well known even back then for her die hard work in HT's)) (((I thought she was nuts, I was doing the ET with pure 5ths and thought it was the ONLY way to tune a Steinway))), and Michael Wathen who invented the Wapin Bridge design and was awarded the PTG Member of Note at the Providence Convention. What a gang!) 1. Start the key leveling on the bench. You can set some samples in the piano if you like. If the keyframe has been newly refelted or the key level is obviously uneven to the eye from a distance, it will require a gross, rough leveling first which is best done with the action stack off and using the substitute weights that you clip on the backchecks. You can use a straight edge or a bubble type leveling device. Try to use only card and thick paper punchings in this procedure. Lift out the cloth punching (or bearing, being careful not to reverse its orientation), place the card and/or paper punchings, using as few as possible that will bring you as close to the desired level as possible. Replace the cloth punching (or bearing) and press down on the key firmly. If the key is too high or still too low, remove the punching(s) and replace with one (or more) that you think will bring the key to the proper level and again press firmly on the key. It is inadvisable at any time to place the card or paper punching on top of the cloth or bearing, even for an estimate. Lifting out the cloth or bearing and placing the card or paper under it will give a different result than simply placing the card or paper on top. And need I even say it that to leave the card or paper on top of the punching is improper? Please, for your own sake, let alone that of your customer's and the piano's, don't do that. 2. Now, with the action stack on and a rough hammer line set (all shanks about 1/8" above the rebound rail or pads), and the action in the piano with the keyblocks in and screwed down tightly (or using spring clamps as a substitute for that tension), use a straight edge to find the low keys. Since there is a 2:1 ratio between the front edge of the key and the balance rail, you can estimate the punching required by finding which punching will exactly fill the gap between the keytop and the straight edge and divide that value in half. For example, if you find that a .020" card punching fills that gap just right, it will take a .010" thick paper punching to raise the key. You can place that punching on the balance rail pin to tell you that this is the punching that must go there. If you have a high key, try firmly pressing downward on the key button to try to compress the material. If this is not successful, you can determine who much punching must be *removed* and take a punching of that size, mark it with a pencil so that you will know that this is the amount to be removed. For example, if you have determined that the key is .010" too high and you find a .020" card under the cloth punching or bearing, remove the card and replace it with the .010" and .005" paper punchings (the thinnest paper always on top). Again, press firmly on the key button to settle all of the materials. 3. After replacing the stack, the key level should be much better but if still rough, it would be best to repeat step #2. If there are just a few slightly low keys, the technique of cutting a a punching and slipping it in under the balance rail cloth or bearing is a quick and effective way of accomplishing a fine and final leveling. This is also a good, in-the-field technique for a keyboard which has only a few flaws in the leveling. Keydip: When setting up a newly refelted keyframe, start by using the thicker card punchings first and get a basic dip that is just a bit deeper than you eventually want it. For fine adjustment, it must be done in the piano and it is best to again use as few punchings as possible, the thickest cards on the bottom and the paper on top of them. Start with the keydip reasonably even all the way across but still just a tad deeper than you really want it to be for your after touch. Get your other regulating done except for the finest repetition and backchecking. Get your best let-off, drop and hammer line set. Then you can fine regulate the aftertouch using which ever gauge you prefer. The story about the drilled out penny is amusing but I remember Bill Garlick saying that pennies had been exempted from the coin defacement law. I really don't know if this is true or when or if that exemption had been given. In any case, if a penny works for you, I wouldn't worry about drilling on out for your own personal use. But you can just as easily find a washer of the same thickness and not have to drill it at all. I like Ed's idea of simply using different front rail cards depending on the aftertouch you want: .030", .045", .060", etc. The smaller the card, the less aftertouch and the more power and control. However, new or newly rebuilt pianos lose this fine regulation quickly. It is better to use a very comfortable amount of aftertouch in a piano in which you know you will not be able to fine regulate it frequently. You can mark the punchings you use for aftertouch or cut a slot in them to make them easy to put in and take out. I have also seen technicians use keytop material (which comes in various thicknesses) which has been specially cut to use as an aftertouch "tool". This is very handy because the "tool" is easily held in the hand, inserted and removed. I hope this provides some useful information. Regards, Bill Bremmer RPT Madison, Wisconsin
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