[pianotech] Regulating drop

[Paul T Williams]

It's all a circle of refinement as I was once taught!  Any tech who thinks 
a once through all the regulation steps makes a great piano will be sadly 
mistaken!  Personally, even though I really don't like doing the rep 
springs, I do them early in the first reg. pass...not exact, but just to 
make sure they're not too weak or really strong and springy. the drop 
screw is one of my favorite parts.  i don't know why this is but I like 
doing it!  I need to feel the "bump" when all associated parts meet. Then 
after all the other steps are done, re-check the springs near the end. 
Then, I run through it all again.  The second (sometimes third) time is 
very quick. This is especially true when I've installed new repetitions 
(wips).  They're nearly always too strong making the first pass a waste of 
time without first checking spring strength. Also, a proper key-height and 
dip done correctly...up front in the process... will help out a lot with 
the speed in which one can do a great regulation. Key dip is very 
noticable to great pianists.  Blow distance, let off, and drop are also 
very important, but to the pianist, there's a feel of how far he/she 
presses the key that will be most noticable, therefore, I like this very 
solid before setting a good let-off, drop, and aftertouch.

And always, before we start, properly bed the keyframe! Not just glide 
bolts, but front rail AND back rail!  I think this step is sometimes 
overlooked or forgotten by some techs who need some more schoolin'. but 
maybe i'm just preaching to the choir!

Happy weekend, all.
Paul







From:
Ed Foote <a440a at aol.com>
To:
pianotech at ptg.org
Date:
11/25/2009 08:41 PM
Subject:
Re: [pianotech] Regulating drop



Chuck asked:
> I guess my question is "what's the purpose of drop?" Israel Stein says 
"so you know you have letoff". Will too large a drop effect repetition? 
Will it also effect the touch of the piano? 

   Drop keeps the hammer out of the strings.    I like to set the drop so 
that with the key depressed firmly, the hammer is at the same height as 
let-off, which, in concert level work, is set to just avoid the maximum 
excursion zone of the string. It is often the case that setting an action 
up like this synchronizes the contact  of the tender  and drop screw to 
their respective surfaces.  Often times, it doesn't.  I don't alter the 
jack's placement to synch them together, since they have already been put 
in their optimum place under the knuckles.
      I don't give much weight to synchronizing the contact timing, since 
when set this close, any staggering of the onset of  resistance actually 
assists more effortless escapement, and the difference in contact is going 
to be quite small. In comparison to the consistency requirements of 
let-off and aftertouch, drop is not that big a player,   pianists will 
overlook varying drop distances but notice changes of aftertouch or 
let-off. 
   If there is a spring strong enough to exhibit recoil in the keys, more 
drop will probably be needed to insure against bobbling hammers.  Then, at 
the point of let-off, where the pianist is striving from maximum control, 
tthere is excessive resistance from the spring, an it is occuring earlier 
than necessary.  Compare this to a softer spring and closer drop and you 
will feel an action that is easier to play softly. The former is more 
durable, the latter more sensitive and higher maintenance. We take our 
choices. 
Regards, 
 

Ed Foote RPT
http://www.uk-piano.org/edfoote/index.html

 

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