[pianotech] Fwd: Erwins key dip gauge

[David Love]

I believe Overs targets 10.25 dip for his actions.  Ten mm is a nice target
but in practical terms, especially when rebuilding actions, you have to
compromise at times.  Moreover, many pianos in their original form were not
designed for 10 mm dip.  Original Steinway actions with higher action ratios
call for shallower dip.  Some pianists prefer the older style actions with
shallower dip, higher ratios, lower strike weights and relatively low front
weights.  The standard has changed but not all tastes have.  Additionally,
when you are replacing parts or going with a high strike weight action for
tonal reasons (though I rarely find the need for that) without the use of
assist springs or maxing out the front weights, a compromise of the key dip
may be appropriate to accommodate a choice of parts and key ratios that
gives you a low enough action ratio to get the weight and balance in order.
Adhering rigidly to 10 mm dip or 10.2 or 9.5 or whatever often won’t serve
you the best.  Often splitting the difference between changes in dip and
blow is required.  

 

The important lesson, especially these days where weight and balance
concerns can often trump adherence to regulation requirements, is to be sure
that you start with targeted regulation specifications and work backwards to
weight and balance requirements always keeping in mind the tonal goals of
the instrument.  Inevitably small compromises in each area may be necessary.


 

David Love

www.davidlovepianos.com

 

From: pianotech-bounces at ptg.org [mailto:pianotech-bounces at ptg.org] On Behalf
Of David Andersen
Sent: Friday, February 27, 2009 11:42 PM
To: pianotech at ptg.org
Subject: Re: [pianotech] Fwd: Erwins key dip gauge

 

Hi, Andre. This is 100% my procedure as well, except I use 10.2mm instead of
10mm---a teeny little difference. Otherwise, exact, exact, precise and
complete custom-to-that-action regulation, and make the final feel of
aftertouch with with slight hammerline variations. Andre is so lyrical, and
exactly echoes my experience.

David Andersen

 

 

On Feb 27, 2009, at 1:12 PM, andré oorebeek wrote:





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 means 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.

 

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