---------------------- multipart/alternative attachment Hi Andre, We play from the same page and have the same philosophy=20 toward regulation. Wonder if the YTA had any thing to do with it? The tight specs you refer to, cannot be attained in a one pass=20 regulation. So we do not confuse some readers. The 1mm clearance that I= =20 referred to as being ample will suffice. To Attain the tolerances that=20 Andre is the complete regulation procedure has to be done approximately 3=20 times. My definition of after touch is. Lost time and lost space. There has= =20 to be some, any extra is a waste. Like you I am anal about the quality of front rail punching's. I take it a= =20 step further, and make sure the card and paper punching's are kept to a=20 minimum, to reduce the concertina effect. On concert pianos I have a trade mark of a blue punching under the felt= =20 ).010" this way I can increase the after touch very quickly at a pianist=20 request, with out messing with the hammer line. I hope this clears up my position. I am in 100% agreement with you Andre. After touch, transmits more about the soul of a piano, to the pianist than= =20 we can ever imagine. Thank's for your wonderful contributions Andre, they are greatly valued. Regards Roger At 02:28 PM 3/29/2004, you wrote: >>----- Original Message ----- >>From: Roger Jolly >>To: Pianotech >>Sent: 3/29/2004 7:45:00 AM >>Subject: Re: Jack to knuckle position >> >>Hi Julie, >> >> 1mm with out the front rail punching starting to become=20 >> depressed, will give a generous amount of after touch. >>The front rail punching, enters into the equation big time. After touch= =20 >>within limits is a personal preference. >>So no black and white answer to the question. >> >>With a smile on my face: Depends on which way the nap=20 >>lies?????? mmmmmmmmmmmm >> >>Regards Roger >> >> > > >After touch is a rather important issue. > >I personally think a seminar of certainly 2 hours could be done about this= =20 >subject. > >Why? > >Because after touch determines touch and sound. >After touch is a safety measure. >Too much after touch is a waste. Too little after touch, a deficiency and= =20 >a nuisance. >Why? > >When we regulate an action correctly, we have to obey certain rules, like : >Regulation starts with the keyboard. >The keys usually all must have a key dip of 10 mm (except for regulation=20 >rules defined by some 'idiots' (like Steinway, Pleyel and Bl=FCthner) who= =20 >were of a different opinion. (smile...... (; >)) ) >Key dip relates to hammer striking distance as, roughly speaking. 1: 5=20 >(usually a little less in the striking distance) > >This means that with a very strict key dip of 10 mm, we may expect a=20 >hammer striking distance of a little less than 50 mm. >Both Steinway and Yamaha supply us with a striking distance gauge of 46 mm= =20 >as an average (and thus more or less correct) striking distance. >Normally speaking, 46 mm should be in accordance with a key dip of 10 mm=20 >or even slightly less (9,8 mm). >Most actions will satisfy these demands and give us a general ok result. >However, sometimes, an action may have just a little trouble maybe with=20 >these measures in one or two hammer sections, caused by the iron frame or= =20 >otherwise) and this will have to alter the striking distance of these same= =20 >hammer sections. >These alterations are mainly caused by the curvature of the soundboard and= =20 >the iron frame, or a technical deficiency in the action or the key bed. >To get the utmost out of any action, we must strictly follow the universal= =20 >regulation instructions and then... check the possibilities and/or=20 >limitations of these actions. >After we have regulated an action 'according to the rules we have=20 >learned', we could check the amount of after touch in different sections=20 >of the action. >We do this by gently depressing 'a' key and following the subsequent=20 >hammer movement through let off and drop. >After the hammer has gone trough the let off and 'drop' movement, the key= =20 >will immediately afterwards rest on the front rail punching. >After the key has touched the front rail punching, we should gently press= =20 >on the key and see if there still is a movement in the hammer. > >By gently pressing the key after all the action movements, we should be=20 >able to move the hammer in an upward motion by 0,4 mm. >0,4 mm is very little, but when the front punching is too soft, an after=20 >touch of 1 mm or more is no exception. >For that reason, we MUST remove a too soft front punching before we start= =20 >regulation. >There are several very good front punching options available : >There is the Yamaha front punching for serial instruments and for Yamaha= =20 >concert instruments, there is Steinway front punching, and there is Wurzen= =20 >front punching. >These three have a thickness of 5mm basically and are excellent for any=20 >piano. > >When we are certain that the front punching is of excellent quality (this= =20 >is of course very important) the after touch can be measured very= accurately. >Any after touch of more than 0,4 mm we call a 'soft landing'. >A soft 'landing' is caused by : > >a too soft front punching (the key sinks into the too soft front punching= =20 >too much) >A too large key dip (the key dip is too big in relationship with the=20 >striking distance) >A too short striking distance (the striking distance is too little in=20 >relationship with the key dip) > >A perfect l'anding' is an after touch of 0,4 mm. > >A hard 'landing' is almost no after touch or no after touch. > >A hard 'landing' means that we move key, wippen and hammer through all the= =20 >playing motions without any lost motion. There is no extra movement in the= =20 >action available. > >A hard 'landing' is actually the very best solution because there is no=20 >waste of time, and no waste of energy, but at the same time it causes a=20 >danger for the pianist when he/she plays ppp, because, when there is no=20 >extra movement available, it may cause the jack, in extreme circumstances,= =20 >to not quite go away from under the knuckle and thereby cause the hammer=20 >to bounce on the jack (especially when the repetition spring is tight, or= =20 >when the combination hammer-and-backcheck is not optimal). > >In that case, a so called free movement of the jack after let off and drop= =20 >is essential. > > >friendly greetings >from >Andr=E9 Oorebeek > >Amsterdam - >The Netherlands > >0031-20-6237357 >0645-492389 >0031-75-6226878 >www.concertpianoservice.nl >www.grandpiano.nl > >"where music is, no harm can be" > ></blockquote></x-html> ---------------------- multipart/alternative attachment An HTML attachment was scrubbed... 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