On Feb 27, 2009, at 6:40 PM, Richard Brekne wrote: > Hi Ed, Andrè, others. > > Its not really true at Yamaha either. One of the first things I > noticed in my two month long visits to the academy was that to > achieve satisfying <<correct in their terminology>> aftertouch one > needed to float the hammer blow difference. This was something the > instructors openly admitted and justified by simply saying this is > how we decide to do things here. In the course of each 2 month > session I had to change 8 sets of hammers, regulate, and voice. > Their spec was an "exact" 10 mm dip, and the resulting variance in > blow from hammer set to hammer set ranged from 44 mm to 49. And > that was just on one piano. (I had the same instrument both times). > The need to alter the general blow difference reflects the exact > same kind of needs one finds key to key. It is just simply > impossible to be so exacting in parts construction and installation > to not need to float one of the three. Informed choices as to which > to float, along with precise regulation otherwise is all that is > needed to achieve a wonderful regulation. Indeed... as far as key > dip goes... even there pianists preferences differ and we simply > MUST be able to supply alterations that still fill all requirements > of a beautifully regulated instrument. > Like many, I choose aftertouch priority. In my case as taught by L. > Edwards, Yamaha America. And I choose that very thoughtfully and > after paying very close attention to the alternatives. > > Cheers > RicB > Hi Richard, and list, Richard, thank you for your kind words. I have always appreciated your frank and open manner. Aside from that, you are an excellent technician. I would like to explain just a little about the way I make aftertouch because I have the feeling that some here do not understand what I am talking about. Let me first make clear that it took me one whole week of practice (at Yamaha) to make sure that my 10 mm key dip was a Yamaha 10 mm key dip. I think that grueling week has made me appreciate a 10 mm key dip. For me that is the absolute basis of a regulation. What follows (the outcome) depends on the physical abilities of keyboard and action. A very sharp and refined regulation (what I call a turbo regulation) usually gives a big enough striking distance to ensure raw power, and I always get what I want. The key dip is therefor my basis, my anchor. If it is good, it is good. I shall not touch it. The aftertouch I make by indeed raising or lowering (usually the latter) the hammer line, thereby following the string level. To me, that mens getting the utmost of power and energy. I have learned it from, among others Takahara-san and it gives me incredible pleasure because it always works and I can always squeeze the last drop of power, followed by a nice tuning. Voicing all that power is like working with jewels, the crown jewels of the instrument. friendly greetings from André Oorebeek Antoni van Leeuwenhoekweg 15 1401 VW, Bussum the Netherlands tel : +31 35 6975840 gsm : +31 652 388008 www.concertpianoservice.nl "where Music is, no harm can be" -------------- next part -------------- An HTML attachment was scrubbed... URL: <http://ptg.org/pipermail/pianotech_ptg.org/attachments/20090227/bce83c6b/attachment-0001.html>
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