Drop (& more)

[Isaac OLEG]

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Hello Richard,

I guess I understand what you are willing to say, but I don't consider
myself as mystic at all.
In fact knowing how to regulate the clear touch on a grand is an equilibrium
game between the different moments and their time.

I confirm once again that having the perfect drop/letoff moment + the good
medium aftertouch,  add a sensation in the play, and in the tone
subsequently, that this can only be attained with firm punching under the
keys, that these are not heard as knocking or bumping when the piano play,
if the regulation have been well done.

And that, basically this regulation is only intended to give the maximum
output without any loss of energy, thus allowing an optimum control to the
pianist.

I see no real magic in there, only a good understanding and long training to
feel the optimum moments, that are changing every time the key height, the
stroke, the springs, or the key bedding change, and that it seem very
important to me to know well this kind of touch and to be able to get it
back fast , in front of the piano, without having to use a rack or a bench.

Any grand piano may work with some values, and be playable, but when one
knows how to make that regulation , playing became a pleasure, voicing a
simple task, and the instrument stay tuned and regulated longer (no speaking
of the wear at the roller).
I don't mean other approaches won't work, I just can't see how is it
possible to regulate the letoff and drop without this precise feel and
imagination of what is happening in the action during the key stroke.

Anyway the regulation parameters are expressed in mm too, that is just the
way the different operations are driven that allow us to gain that few
tenths of mm of energy, that balance the regulation so the output is more
powerful. As Andre told me , a straight line is not a shortcut, it is only
the easiest way to go from one point to another.

That does not mean that we should not gain to learn new approaches in action
balancing, better inertia comprehension, etc, geometry and mass utilization
are one thing, mastering regulation to a very efficient level is another.

To feel the tone energy in the key, one may only be very relaxed, I don't
see why that should be so esoteric, we just add another sensation to our
hearing.

But being of the ear sensitive kind, that seems may be evident to me, and
talking of opening or closing of the tone have always been there.

What I don't get is why I should not try to have a rational explanation on
all these. I believe I don't use "magic" references very often (in fact I
should probably).

If one can't hear the difference in tone between a light pressured key frame
and a heavier one, one may try himself again, as there are often weak areas
in the keyboard, due to lack of pressure on one screw.
If that can be heard, once the effect is recognized, it is easy to hear it,
even at 5 meters from the instrument. That can really be helpful, as the
keybed bedding is the true base of the whole story.

I respectfully believe that tone is produced and transmitted in every part
of the piano, and in the floor and the walls of the room for instance, and
in our body ans skeleton, and I really can't see what is new there.

Then, having a perfect control on the ratio the action is giving, and
helping the evening of the scale with an optimized hammer curve, knowing how
to lead the keys so they give more confidence to the pianist, is certainly
something I may dig in, because in fact I need to apprehend these facts,
being a rebuilder from time to time.
I am a little cautious about having a too precise evenness, as it happens on
some scales that are so perfect they are boring and lacks coloration, that
is why I work much on these sensation driven methods, but they are backed up
by basics facts, not really magic.



Both sorts clearly have their strengths as well, and are founded in that
same reality their perceptions of things allows for. For the sensualist, the
acceptance of "facts" like  << sound and timbre being directly affected by
hardness of the front felt punchings >> or that << the voice of the piano is
sensed as easily at the fingers as at ears. >> is as natural and "of
course-ish" as could possibly be. These are much more willing to think for
example in terms of aged wood, or varnish qualities. For the rationalist of
course one runs into difficulties very quickly thinking along these lines,
yet that same resistance to this kind of "knowledge" leads them to wonderous
discovery and invention of their own.


I truly don't believe these are different approaches, the fact is that
things have to be shown to you, and that is up to everyone to try to
understand the reasons why some facts exists.

It is very frustrating to be in this trade without a real good basic backup,
and one may be willing to dig in all the existing information's, but when
these have to be used in the daily work, I believe there is a big
difference, for instance when regulating dampers, between having to think
any angle before moving it, and having an appreciation "at large" of what is
necessary for the part to function well, then do the job on automatic. All
these imagination and feeling methods are there for that, to allow the
things to be done driven by the good part of the brain.

Just what I believe about it actually (after having spend many years being
sure of knowing better because I had some readings made).

With best Regards.

Isaac OLEG




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