Oddball drop action

[Richard Brekne]

Hmmm--- good point about key leveling... As it happens I just got called by the
owner to do a "put it back in great operating condition" type job. Entails the
usual basics,, centers , reshaping hammers... key bushings.. cleaning and
regulation. I will have to take a look at the key leveling set up right away,
but I suspect that it is done from the rear, which may partially explain why
there was a balance rail and pin just an inch or so front of the hinge.

Have not seen Eavestaff here in Norway,, but I know a Scottish fellow tech here
in Bergen and will ask him about them.

Its going to be fun I think to try out putting this drop action in shape. I
dont usually take on drops, but this one caught my interest. I'm a gonna have
to juririg a way of standing this thing up to work on it, as the klaviatur and
action are all in one piece, and glued not screwed that way. Strike line was
straight all the way. I'll write some more specifics on it when I pick it up
and get a better look at it.

Got any other good points to look out for on these ??

regards;

Graeme Harvey wrote:

> Hi Richard,
>
> But how about levelling the keys on this "pianer"?
> Talking about drop actions, have you encountered any made by Eavestaff
> (England)?
> They made all sorts of variations on this theme including one that had the
> main action rail level in the treble and dropping down in the bass at about
> 30 degrees or so. In other words the bass hammers followed a falling strike
> line in the bass, allowing a greater overstringing angle etc etc.
> The treble action standard (metal bracket) was, from memory rather long to
> allow the action to stand up on a bench.
>
> Cheers,
>
> Graeme Harvey
> New Plymouth NZ
>
> ----- Original Message -----
> From: Richard Brekne <richardb@c2i.net>
>
> > Hi list.. just ran into a rather strange variant of the drop action that
> > I actually thought was pretty nifty. Instead of the sticker assembly,
> > (with all its woes and throes) this had an entirely different
> > arrangement, and it worked impressively well.
> >
> > The keys were hinged at the back, about an inch beyond the balance pin.
> > (Indeed why there was a balance pin at all escapes me really). Half way
> > between this hinge and the front of the key was a push rod which push
> > downwards on what really amounted to the back half of the key. These
> > rods are about 8 inches long. The "back half of the key" is flanged and
> > has a capstan to adjust the whippen for then jack to knuckle
> > relationship as in all uprights. The length from flange to where the rod
> > connects is half as long as from the flange to the capstan so that the
> > basic 5 to 1 (or what ever the exact relationship is in this case) is
> > preserved. This "back half of the key" (underlever ??) is back weighted
> > to achieve what the designer meant was proper key weight.
> >
> > What I liked about it was how solid a feel there was to the "touch" of
> > this little pianer. The hinged keys were solid as could be, and the
> > adjustment to the underlever was very solid and very stable. And of
> > course adjusting for lost motion functioned  fine as well being done
> > with a capstan instead of with that chincy solution the sticker assembly
> > provides for.
> >
> > It was vaguely reminicent of a reed organ action really, and if there
> > was any thing to pick on about the touch.. it was perhaps a tendency to
> > feel a bit springy... or "organish" if you will, despite the fact that
> > no springs beyond the damper and hammer return springs were employed.
> >
> > Had the designer given a little more thought to ease of removal for
> > servicing... I think he woulda had a definant winner here..
> >
> > No name was visable anywhere on the piano, but the case looked like
> > typical 40's-early 50's style.
> >
> > --
> > Richard Brekne
> > Associate PTG, N.P.T.F.
> > Bergen, Norway
> >
> >
> >
> >

--
Richard Brekne
Associate PTG, N.P.T.F.
Bergen, Norway