Oorebeeks Punch'ns

[Roger Jolly]

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Hi Ric,
             For several reasons.

#1.   I think this is probably the most important reason.  The=20
Psychosomatic effect on the pianist.   Well defined after touch gives the=20
advanced player a great sense of security.   They play in a far more=20
relaxed manner knowing that every key will behave in precisely the same=20
manner. The tone they create becomes much sweeter and more controlled in=20
the middle ranges. Comments like:  Is the touch deep or shallow, are=20
invariably connected to after touch and not depth.    ( I am talking about=
=20
a well regulated concert piano, before some one howls about the actual=
 depth.)
Concert pianos that I look after regularly have had the felt punching=20
ironed so they are consistent. Sharp punching are turned over annually to=20
ensure the key hits a flat surface..( Sharp punching's groove with heavy=20
playing and should be turned over each time dip is adjusted)   Good pianist=
=20
love consistent after touch, I am not so sure that they care about an exact=
=20
amount.  Now there is a can of worms. How much after touch is deemed to be=
=20
correct?

#2   Stephanie, raises a valid point about key frame noise and flex.  This=
=20
addition of unwanted tone is a serious factor. When rebuilding Steinway's,=
=20
the superior Oak frames of the 1920's.  gives clear evidence of a quieter=20
and more responsive action.  Resulting in better tone control. PS. I am not=
=20
a lover of cheap soft  wood action frames, for the same reason that Andre=20
does not like mushy punching's.  The soft wood frames absorb too much=20
energy. Lowering the action saturation point.   On a well regulated /=20
voiced Yamaha do this test. Really hit the note adjacent to the centre=20
glide bolt, then do the same to a note mid point to the next glide=20
bolt.  You will hear a slight difference in tone, and feel a response=20
difference.

#3  Key flex. This is related to the action saturation problem.  The more=20
efficiently we can transfer energy from key tip to shank the better the=20
tone control. Nothing new here, this is why maple shoes are use on concert=
=20
pianos to stiffen the key.   A flexing key will alter the sensation of=20
after touch. On a hard blow it will give the sensation of no after=20
touch.  A Baldwin SD10 will regulate to a much more refined after touch=20
than a Steinway D. Cry all you want about Baldwin pianos. but the key=20
sticks are vastly superior. Sugar pine keysticks, with long maple shoes,=20
and good long maple buttons.

#4  Andre.  I have noticed a difference in tone when removing the big pile=
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of paper/thin card punching's often found in grands. And replacing them=20
with a few very thick card punching's. Add to this, Ironing the felt=20
between brown paper, it makes a big improvement in consistent dip and after=
=20
touch.

Moral of the above points:   The pianist works with after touch to create=20
tone. Any and all things that we can do, to make this accurate and=20
reliable, the happier our clients will be.

Andre, you have started me thinking.    OMG that's dangerous ;-)   Have you=
=20
tried let off buttons with Wurzen felt?  Again we find that they are all=20
over the map in quality and density.  When replacing them.  We first iron=20
then with a damp cloth, to shrink them, then dry iron.  It makes a big=20
difference in how the let off and drop regulates.

Warm regards.
Roger



At 03:38 AM 4/3/2005, you wrote:

>On 3-apr-05, at 11:18, Richard Moody wrote:
>
>>When the key hits the front rail punching, the hammer has long ago left=20
>>any contact with the key.    How the heck can a front rail punching=20
>>affect tone after the hammer has hit the string???---ric
>>
>>
>
>Then how else would you explain the improvemnt of touch and tone?
>
>
>friendly greetings
>from
>Andr=E9 Oorebeek
>
>www.concertpianoservice.nl
>
>"Where music is no harm can be"
>
>
>
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