Pianotech

Dear PTG Masters,

In European piano technical literatures, masters says aftertouch is parallel to drop. It means if I understand 2mm aftertouch travel parallel to 2mm drop. Just I realised from my feelings and then measured new Steinway D Model piano here in Istanbul, It is approximately 3mm aftertouch after 7 mm key travel in 10 mm key deep. But in these measurement The Steinway Masters kept 2mm drop position. My feelings you couldnt do second repetition until to reach back to aftertouch position. Steinway's string to hammer distance was 47 mm.  If there is adjustment like this,  I am feeling like there is lost motion in Grand Piano. It is like broken connections between keys and hammers. I understand during checking more new pianos, It is the same adjustment.  I want to learn your experience and adjustment method. 

All the Best, 

Hello, Ali, and welcome. I love talking with piano technicians from halfway around the world! What an age we live in, instant communications.

I don't think of aftertouch and drop being the same, which is probably a European idea. I set aftertouch by the feeling I get when playing the note. If there is too little, playing feels kind of tight and brittle. If there is too much, it feels sloppy, as if there were no control. What is needed depends partly on the condition of the rest of the action, and what kind of regulation has been put on it. If there is too little hammer friction, and the springs therefore seem too strong (because the hammer friction is not there to resist them), then one needs a somewhat deeper aftertouch, as well as more drop, to prevent double-striking. (So, to that extent, I suppose that aftertouch and drop do resemble each other.) Better to have the friction right (I prefer 4 grams of friction in the hammer centers) because that way one has more choices about how to set up the action, and it will still work.

I find that without sufficient hammer friction very smooth controlled playing at a soft dynamic level becomes nearly impossible. If the springs are strong enough for fast playing, one will be able to feel the kick in the key during soft playing if the action has too little friction. The specifications I prefer are: hammer flanges: 4 grams. Jack flanges, 0 to 2 grams (they must be very free), repetition lever, about 6 grams, and wippen flanges, between 2 and 4 grams. Assuming that the jacks are free enough, which they must be, the most important place for correct friction is the hammer flange. It's also the hardest to maintain, because with heavy use the flanges get more and more free. Also, what I consider correct hammer flange friction is not fashionable these days. The parts (shanks and flanges) I've ordered come with 2 grams (but wonderfully even). I've heard Steinway classes where the saying is, "hammers can be completely free, so long as there is no side play." With due respect to Steinway, and loving their concert instruments, I don't think it's possible to regulate for very smooth, silky playing at a soft dynamic level with completely free hammers.

The rule I was taught about drop is that it should be equal to letoff, that is, if letoff is 2 mm, then another 2 mm. will give a drop of 4 mm. This may need to vary depending on whether the hammers are too free -- if they don't have any friction, then the hammers will kick up and double strike too easily without wider letoff and drop.

For fast repetition, there are two things I look at carefully. First, the height of the repetition lever (which Steinway calls the balancier). It must be set so that the jack (fly) top is very, very close to the knuckle (roller), just a whisper of contact. This has to be adjusted very carefully if the spring tension has been changed. I check this by pulling on the jack tender (the part which contacts the letoff button). There should be the tiniest possible motion in the hammer. This is called "winking the jacks." If there is too much motion in the hammer (the jack is too high, at or above the level of the balancier) then there is no repetition. If it is too low, there is slow repetition.

The other crucial thing is to have the checking high, 1/2" (1.3 cm) from the string. If the hammer doesn't go into check, it cannot repeat. I saw a very good film at a convention. Some unlucky pianist had taught himself to play repeating notes at 10 times a second! And then there was a slow motion film of it. After every single note, the hammer went into check.

The springs don't have to be extremely strong for good repetition if the checking is very good, and high, and the repetition lever is set to the right height. Medium strength on the springs is enough. Sometimes people try to get better repetition by getting the springs extremely strong, when it's bad checking or the wrong repetition lever height which is the problem.

Sorry to run on and on, and I'm sure some people don't agree with everything I've written, but it has worked well for me.

I understand why hammer friction tends to be low on new pianos. They are sent all over the world. Some places have such high humidity that if the hammer flanges weren't free the actions would seize up. Other places have humidity which changes a tremendous amount during the year. What would be ideal here on the West Coast of the U.S. wouldn't work at all in New England or South Florida, for instance.

Dear PTG Masters,

In European piano technical literatures, masters says aftertouch is parallel to drop. It means if I understand 2mm aftertouch travel parallel to 2mm drop. Just I realised from my feelings and then measured new Steinway D Model piano here in Istanbul, It is approximately 3mm aftertouch after 7 mm key travel in 10 mm key deep. But in these measurement The Steinway Masters kept 2mm drop position. My feelings you couldnt do second repetition until to reach back to aftertouch position. Steinway's string to hammer distance was 47 mm.  If there is adjustment like this,  I am feeling like there is lost motion in Grand Piano. It is like broken connections between keys and hammers. I understand during checking more new pianos, It is the same adjustment.  I want to learn your experience and adjustment method. 

All the Best, 

Hello, Ali, and welcome. I love talking with piano technicians from halfway around the world! What an age we live in, instant communications.

I don't think of aftertouch and drop being the same, which is probably a European idea. I set aftertouch by the feeling I get when playing the note. If there is too little, playing feels kind of tight and brittle. If there is too much, it feels sloppy, as if there were no control. What is needed depends partly on the condition of the rest of the action, and what kind of regulation has been put on it. If there is too little hammer friction, and the springs therefore seem too strong (because the hammer friction is not there to resist them), then one needs a somewhat deeper aftertouch, as well as more drop, to prevent double-striking. (So, to that extent, I suppose that aftertouch and drop do resemble each other.) Better to have the friction right (I prefer 4 grams of friction in the hammer centers) because that way one has more choices about how to set up the action, and it will still work.

I find that without sufficient hammer friction very smooth controlled playing at a soft dynamic level becomes nearly impossible. If the springs are strong enough for fast playing, one will be able to feel the kick in the key during soft playing if the action has too little friction. The specifications I prefer are: hammer flanges: 4 grams. Jack flanges, 0 to 2 grams (they must be very free), repetition lever, about 6 grams, and wippen flanges, between 2 and 4 grams. Assuming that the jacks are free enough, which they must be, the most important place for correct friction is the hammer flange. It's also the hardest to maintain, because with heavy use the flanges get more and more free. Also, what I consider correct hammer flange friction is not fashionable these days. The parts (shanks and flanges) I've ordered come with 2 grams (but wonderfully even). I've heard Steinway classes where the saying is, "hammers can be completely free, so long as there is no side play." With due respect to Steinway, and loving their concert instruments, I don't think it's possible to regulate for very smooth, silky playing at a soft dynamic level with completely free hammers.

The rule I was taught about drop is that it should be equal to letoff, that is, if letoff is 2 mm, then another 2 mm. will give a drop of 4 mm. This may need to vary depending on whether the hammers are too free -- if they don't have any friction, then the hammers will kick up and double strike too easily without wider letoff and drop.

For fast repetition, there are two things I look at carefully. First, the height of the repetition lever (which Steinway calls the balancier). It must be set so that the jack (fly) top is very, very close to the knuckle (roller), just a whisper of contact. This has to be adjusted very carefully if the spring tension has been changed. I check this by pulling on the jack tender (the part which contacts the letoff button). There should be the tiniest possible motion in the hammer. This is called "winking the jacks." If there is too much motion in the hammer (the jack is too high, at or above the level of the balancier) then there is no repetition. If it is too low, there is slow repetition.

The other crucial thing is to have the checking high, 1/2" (1.3 cm) from the string. If the hammer doesn't go into check, it cannot repeat. I saw a very good film at a convention. Some unlucky pianist had taught himself to play repeating notes at 10 times a second! And then there was a slow motion film of it. After every single note, the hammer went into check.

The springs don't have to be extremely strong for good repetition if the checking is very good, and high, and the repetition lever is set to the right height. Medium strength on the springs is enough. Sometimes people try to get better repetition by getting the springs extremely strong, when it's bad checking or the wrong repetition lever height which is the problem.

Sorry to run on and on, and I'm sure some people don't agree with everything I've written, but it has worked well for me.

I understand why hammer friction tends to be low on new pianos. They are sent all over the world. Some places have such high humidity that if the hammer flanges weren't free the actions would seize up. Other places have humidity which changes a tremendous amount during the year. What would be ideal here on the West Coast of the U.S. wouldn't work at all in New England or South Florida, for instance.

Dear PTG Masters,

In European piano technical literatures, masters says aftertouch is parallel to drop. It means if I understand 2mm aftertouch travel parallel to 2mm drop. Just I realised from my feelings and then measured new Steinway D Model piano here in Istanbul, It is approximately 3mm aftertouch after 7 mm key travel in 10 mm key deep. But in these measurement The Steinway Masters kept 2mm drop position. My feelings you couldnt do second repetition until to reach back to aftertouch position. Steinway's string to hammer distance was 47 mm.  If there is adjustment like this,  I am feeling like there is lost motion in Grand Piano. It is like broken connections between keys and hammers. I understand during checking more new pianos, It is the same adjustment.  I want to learn your experience and adjustment method. 

All the Best, 

Ali, I visited your website. You have wonderful experience!

Dear PTG Masters,

In European piano technical literatures, masters says aftertouch is parallel to drop. It means if I understand 2mm aftertouch travel parallel to 2mm drop. Just I realised from my feelings and then measured new Steinway D Model piano here in Istanbul, It is approximately 3mm aftertouch after 7 mm key travel in 10 mm key deep. But in these measurement The Steinway Masters kept 2mm drop position. My feelings you couldnt do second repetition until to reach back to aftertouch position. Steinway's string to hammer distance was 47 mm.  If there is adjustment like this,  I am feeling like there is lost motion in Grand Piano. It is like broken connections between keys and hammers. I understand during checking more new pianos, It is the same adjustment.  I want to learn your experience and adjustment method. 

All the Best, 

Ali, I visited your website. You have wonderful experience!

Dear PTG Masters,

In European piano technical literatures, masters says aftertouch is parallel to drop. It means if I understand 2mm aftertouch travel parallel to 2mm drop. Just I realised from my feelings and then measured new Steinway D Model piano here in Istanbul, It is approximately 3mm aftertouch after 7 mm key travel in 10 mm key deep. But in these measurement The Steinway Masters kept 2mm drop position. My feelings you couldnt do second repetition until to reach back to aftertouch position. Steinway's string to hammer distance was 47 mm.  If there is adjustment like this,  I am feeling like there is lost motion in Grand Piano. It is like broken connections between keys and hammers. I understand during checking more new pianos, It is the same adjustment.  I want to learn your experience and adjustment method. 

All the Best, 

Hi Ali,

Just wanted to  add some useful info to your question.

European  techs meaning of  aftertouch.

“ Aftertouch is a last key  motion 1-2mm when AT THE SAME TIME the hammer goes for setting -off 2mm   and then  1-2 mm down on drop 

Japanese  techs meaning of aftertouch.
“Aftertouch is a last key motion of  0.2-0.5 mm , AFTER the hammer  passed set-off and drop."

Here I will try to explain in details Japanise method:

1) Hammer goes to the string
2)Sets-off 2 mm from the string
3)Hammer drops down 2 mm from set-off point.


4) NOW AFTERTUOCH takes place.  The key travels 0.2-0.5 mm  down to the felt washer (raising the hammer in 1 mm up)



Here is a good video of american PTG showing  what is going on.




Station 4 - Grand Piano Aftertouch

Good luck

Ivan Jochner RPT Ukraine

Ali, I visited your website. You have wonderful experience!

Dear PTG Masters,

In European piano technical literatures, masters says aftertouch is parallel to drop. It means if I understand 2mm aftertouch travel parallel to 2mm drop. Just I realised from my feelings and then measured new Steinway D Model piano here in Istanbul, It is approximately 3mm aftertouch after 7 mm key travel in 10 mm key deep. But in these measurement The Steinway Masters kept 2mm drop position. My feelings you couldnt do second repetition until to reach back to aftertouch position. Steinway's string to hammer distance was 47 mm.  If there is adjustment like this,  I am feeling like there is lost motion in Grand Piano. It is like broken connections between keys and hammers. I understand during checking more new pianos, It is the same adjustment.  I want to learn your experience and adjustment method. 

All the Best, 

Hi Ali,

Just wanted to  add some useful info to your question.

European  techs meaning of  aftertouch.

“ Aftertouch is a last key  motion 1-2mm when AT THE SAME TIME the hammer goes for setting -off 2mm   and then  1-2 mm down on drop 

Japanese  techs meaning of aftertouch.
“Aftertouch is a last key motion of  0.2-0.5 mm , AFTER the hammer  passed set-off and drop."

Here I will try to explain in details Japanise method:

1) Hammer goes to the string
2)Sets-off 2 mm from the string
3)Hammer drops down 2 mm from set-off point.


4) NOW AFTERTUOCH takes place.  The key travels 0.2-0.5 mm  down to the felt washer (raising the hammer in 1 mm up)



Here is a good video of american PTG showing  what is going on.




Station 4 - Grand Piano Aftertouch

Good luck

Ivan Jochner RPT Ukraine

Ali, I visited your website. You have wonderful experience!

Dear PTG Masters,

In European piano technical literatures, masters says aftertouch is parallel to drop. It means if I understand 2mm aftertouch travel parallel to 2mm drop. Just I realised from my feelings and then measured new Steinway D Model piano here in Istanbul, It is approximately 3mm aftertouch after 7 mm key travel in 10 mm key deep. But in these measurement The Steinway Masters kept 2mm drop position. My feelings you couldnt do second repetition until to reach back to aftertouch position. Steinway's string to hammer distance was 47 mm.  If there is adjustment like this,  I am feeling like there is lost motion in Grand Piano. It is like broken connections between keys and hammers. I understand during checking more new pianos, It is the same adjustment.  I want to learn your experience and adjustment method. 

All the Best, 

Dear PTG Masters,

In European piano technical literatures, masters says aftertouch is parallel to drop. It means if I understand 2mm aftertouch travel parallel to 2mm drop. Just I realised from my feelings and then measured new Steinway D Model piano here in Istanbul, It is approximately 3mm aftertouch after 7 mm key travel in 10 mm key deep. But in these measurement The Steinway Masters kept 2mm drop position. My feelings you couldnt do second repetition until to reach back to aftertouch position. Steinway's string to hammer distance was 47 mm.  If there is adjustment like this,  I am feeling like there is lost motion in Grand Piano. It is like broken connections between keys and hammers. I understand during checking more new pianos, It is the same adjustment.  I want to learn your experience and adjustment method. 

All the Best,