Setting strike point

[Jon Page]

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>From a practical perspective, what methods do you use for
>finding the aurally ideal strike point of individual hammers?
>How do you manipulate the hammer on the shank?

The top two treble sections are where the concerns lie.
Tack-glue a hammer on a shank using the originals for
guide at the ends of each section and maybe one in the
middle of the first section (killer octave).

Place pieces of masking tape on the key bed at these trial hammers.
(Have the tape go under the key frame).

Install the action and cheek blocks.
Draw a line on the tape at the edge of the key frame (sharp pencil).

With the treble block removed, play the note while moving the treble end
of the action slowly front to back. If the tone is better with the action
relocated, place a line on the tape. Do this for each trial hammer.
(This assumes the action was situated properly to begin with).

The difference between the lines is the amount in which to relocate 
your trials.
Relocate trials, verify. Don't be shocked if there is a curve to the 
strike line.

Glue on the other hammers to these trial guides.
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Regards,

Jon Page
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