No Andrè, I have not forgotten Hamatsu. I just subscribe to the Yamaha
America after touch priority way of going about things. Whilst
everything does indeed start with touching the key, it does not end with
some impossible to achieve in the first place 10,0001 mm key dip. There
are just too many other factors involved.
I'm sticking to my last post here. Precise regulation of a fine
instrument will yield very slight variations in key dip if ones
objective is an even as possible aftertouch... both sensation wise and
and measurable wize.
I understand completely however why those of you who wish to float after
touch a bit instead do so. In any case the resulting differences are
very small. It is my experience however that a pianist will notice
differences in aftertouch before they will notice differences in key dip.
Cheers
RicB
I am sorry pal, have you forgotten the thorough Yamaha key dip
lessons? For me anyway there is a golden rule : Everything starts
with touching a key.
The output depends on the input. Give any decent instrument a really
good and precise key dip and regulation and the result will almost
always be very nice and very satisfying. Aftertouch is the last
regulation procedure and I like that the most. because it shows
whether I have done a thorough regulation, or not. Aftertouch also
shows that in some places the action is willing to 'give more', and
in other places less. The beauty of this is that it all depends on
the making of a superb key dip/key frame regulation, which I
consider an art in itself.
another euro cent
friendly greetings
from
André Oorebeek
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