Setting Dip on the Bench

[A440A at aol.com]

David writes:
> >>Currently I
> use a method similar to the one described by Ed Foote, but which, to
> clarify, involves transferring and retaining settings made originally
> in the piano itself, not created originally on the bench.<<
> 
    Hmm,   I may have been foggy on that point.   I set the key level in the 
piano, and then set the dip on the end keys of each section,(after regulating 
blow and let-off)   in the piano.   Then it is easy to recreate the same 
aftertouch when I get the piano on the bench.   I do most jobs dip at the piano, 
and found that using a "bleacher seat" with a back to it to be invaluable for 
comfort.   Working while sitting on the floor also lets me throw punchings 
around so that I don't have to constantly reach into the box, but rather, just pick 
up what I need from around me.   
> 
> >>Ed mentions crescendo punchings by which, I am assuming,. he means
> front punchings.  I agree that they make it  much easier to interpret
> and set precise dip, though I am still not sure I like the reduced
> cushion.<<
> 
 I have changed my philosophy because of these things.   On the concert 
pianos, I toss the front punchings after a couple of years.   It is only $ 20 worth 
of parts and is of little consequence when there is a $ 1000 
regulation/repinning/hammer filing job depending on me.   
regards.
>   
> >Ed Foote RPT 


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