Complete Grand Regulation

By Roger Jolly (with Eugenia Carter, RPT)

200 Piano Te!hni!ian" Guild
Table of Contents
Foreward
Introduction
#$ %ey&rame and Balan!e Rail
2$ %ey 'eight and (e)eling
*$ 'ammer"han+"
$ The 'ammer (ine
,$ (et-.&&
/$ Tou!hweight
0$ 1pring"
2$ 3rop and 4&tertou!h
5$ Trap 1y"tem Ba"i!"
#0$3amper", 6nderle)er", and Guide Rail"
##$ 3amper 7elt", 'ead", and 8ire"
#2$3amper Timing
#*$3amper 6p"top Rail and 1o"tenuto
#$3amper Tool"
#,$9oi!ing
Appendix
Chapter #
%ey&rame and Balan!e Rail
'a)e you e)er wondered why a hammer line doe"n:t remain "ta;le< 'a)e you e)er wondered
why it ta+e" "o many attempt" to ma+e it "ta;le< $ 3uring the !our"e o& thi" wondering and
"pending many &ru"trating hour" "ta;;ing in the dar+$ =t ;e!ame )ery apparent that &or high
per&orman!e regulation, the a!tion need" to ;e regulated "e)eral time" to re&ine all the
ad>u"tment"$ 8hy i" thi" ne!e""ary<
4 new phra"e &or many i" ?a!tion "aturation$@ Thi" !an roughly ;e de&ined a" the point where
any in!rea"e in &or!e at the end o& the +ey will no longer produ!e an in!rea"e in hammer
a!!eleration or impa!t power$ 8hen the a!tion i" in premium !ondition and properly regulated,
the hammer will "tri+e the "tring with maAimum power$ 6nder thi" !ondition mo"t o& the energy
eApended to "tri+e the +ey propel" the hammer$ 8hen the a!tion i" not regulated to it" maAimum
!apa;ility, or ha" ;adly worn part", tonal power i" dimini"hed a" "ome o& the energy i" lo"t in the
loo"ely !oupled !omponent", rather than ;eing u"ed to propel the hammer$ The primary area"
o)er whi!h we ha)e !ontrol o& the"e lo""e" are &rame ;edding, a!tion alignment, >a!+ height, let-
o&&, and !enter pinning$ 1ound" rather intera!ti)e, doe"n:t it<
Thi" ;oo+ will outline the pro!edure" that are needed to produ!e a regulation that optimiBe"
the u"e o& that energy, and re"ult" in a regulation that will "ati"&y the mo"t di"!riminating
mu"i!ian$ Throughout you will ;e "hown how the )ariou" ad>u"tment" intera!t with ea!h other
&or a ;etter under"tanding o& the whole$ Thi" way you !an ;egin to unra)el the !au"e-and-e&&e!t
o& the pro!e""e" that are u"ed to rea!h your goal", ergo intera!ti)e grand regulation$
8here to "tart< 4ny well-;uilt hou"e ha" a "olid &oundation, nothing new in thi"$ =n Europe
you will &ind home" that are o)er 000 year" old and "till "tanding$ They ha)e one thing in
!ommonC a "olid &oundation$ (i+e the longe)ity o& tho"e home", no regulation will wor+ properly
unle"" the &oundation i" ro!+ "olid$
1in!e the +ey&rame !an ;e li+ened to the &oundation o& a hou"e, we will ;egin with the
pro!edure" in thi" )ery !riti!al area$ Ju"t loo+ at "ome o& the )aria;le" that !an !au"e pro;lem"C
;adly worn &itting" or mi"-po"itioned dag", ;adly worn or in!orre!tly ten"ioned una !orda pin" or
!lamp", in!orre!t !hee+ ;lo!+ hardware &itting", three rail" that ha)e to ;e ;edded &irmly to the
+ey;ed$ 4ll o& the"e are "our!e" o& a!tion in"ta;ility, ine&&i!ien!y, and !an !reate unde"ira;le lo""
o& power and mo;ility$ 8hen any o& the"e are not "olid, hammer line and tone will ;e a&&e!ted$
The &ir"t "tep i" to en"ure a "olid and !orre!t a!tion po"ition, the &oundation on whi!h the re"t
o& the pro!e"" i" ;uilt$ The rea"on to en"ure the !orre!t &it ;e&ore attempting any other "tep i" that
hammer" !an not ;e "pa!ed to the "tring" unle"" the a!tion i" a;"olutely in it" !orre!t po"ition
and will return to the "ame po"ition$ (Badly worn part" will !reate pro;lem", !on&u"ion, and mu"t
;e &iAed ;e&ore pro!eeding$ Part" repla!ement or ma>or repair" are ;eyond the "!ope o& thi"
wor+)
The &ir"t )aria;le" are the dag" and how the a!tion &rame &it", "e!ondly the !orre!t &it o&
!hee+ ;lo!+ hardware, and how the a!tion "lide"$
1tep #$ Po"ition the a!tion &or optimum tone Duality, ma+ing "ure that the top tre;le hammer"
ha)e "u&&i!ient !learan!e &rom the ;elly rail$ Che!+ with the top tre;le note" ;y repetiti)ely
playing a note and pu"hing the a!tion in and out, te"ting at lea"t three or &our po"ition" &or
optimum tonal "ound$ Repeat the pre)iou" repetiti)e playing te"t at note E// or E/0 to )eri&y the
po"ition$ FoteC while hammer angle will ;e !o)ered later, thi" i" a good time to !he!+ tho"e
tre;le hammer" &or any "etting at more than two to three degree" o&& to a "ide$ =t i" re!ommend
ta+ing them o&& now and regluing at the proper angle$ Repeat the tone te"t a&ter ma+ing the
!orre!tion$
1tep 2$ 7it the !hee+ ;lo!+", !he!+ing &or Bero mo)ement o& the &rame$ 4d>u"t the !hee+ ;lo!+
"lide ad>u"tment" "o that optimum tone i" maintained without &ront to rear mo)ement u"ing the
"ame pro!edure a" a;o)e$ Ge", you will ha)e to ta+e the !hee+ ;lo!+" in and out "e)eral time"$
TipC ma+e pen!il line" on the +ey;ed to o;"er)e mo)ement$
1tep *$ Rein"tall +ey"lip, !hee+ ;lo!+" and &all;oard$ Fow !he!+ the operation o& pedal" &or no
;inding, "Duea+ing or groaningH i& there i", ad>u"t or repair now$ Ia+e "ure that rapid return i"
happening with the u"e o& the una!orda pedal$ FeAt, ma+e "ure that there i" ample !learan!e
;etween the depre""ed +ey" and +ey"lip$ 6"ing a ;u"ine"" !ard i" a de&inite ?no-no@ a" a +ey "lip
&iA$ =denti&y where the +ey"lip i" ;inding$ .ne &iA i" to in"tall a "mall "et "!rew in the +ey;ed
;etween the +ey&rame and to the "ide and >u"t a tad ;a!+ o& the !enter line o& the +ey"lip pin or
dowel at the ;inding point$ .n piano" without +ey"lip pin" or dowel", glue thin "trip" o& )eneer
to the &ront o& the !hee+ ;lo!+" eDually on ;oth "ide"$ The"e method" will gi)e you !learan!e
without introdu!ing &ri!tion to the +ey&rame$
1tep $ FeAt, ma+e "ure that the "harp" do not !li!+ again"t the &all;oard$ Remem;ering that
+ey" may ;oun!e "omewhat with )igorou" playing, "et it &or at lea"t a !redit !ard:" thi!+ne"" o&
!learan!e ;etween the tail o& the "harp and the &all;oard$
1tep ,$ .n!e again, remo)e +ey"lip and &all;oardH !hee+ ;lo!+" remain or are rein"erted into
po"ition$
1tep /a$$ (Fote thi" "tep doe" not !ompletely apply to piano" where the !hee+ ;lo!+" determine
the a!tion po"ition$ 1ee 1tep / ;$) Fow !he!+ the dagJ&rame &itting$ Iar+ the +ey;ed with the
!hee+ ;lo!+" in their !urrent pla!e &or &rame po"ition$ =& a&ter remo)ing the ;lo!+" you !an pu"h
the a!tion inward, "ome ad>u"tment i" reDuired$ 1ome piano" are &itted with dag "!rew"$ 4d>u"t
"o the rear o& the &rame i" >u"t in !onta!t with the "!rew" and there i" no mo)ement o& the &rame
when the !hee+ ;lo!+" are rein"talled$ 7or piano" without dag ad>u"tment "!rew", it i" Duite
"imple and ea"y to in"tall them and it:" ea"ier than gluing a "trip o& )eneer and "anding$ Clean the
+ey;ed and lu;ri!ate the &ri!tion point"$
1tep / ;$ 7or tho"e piano" where the !hee+ ;lo!+" are a ma>or &a!tor in determining the a!tion
po"ition, the dagJ&rame &itting i" done in a "imilar method$ Iar+ the +ey;ed with the !hee+
;lo!+" in their !urrent pla!e$ Remo)e the ;lo!+" and !he!+ &or tonal Duality a" in 1tep #$ The
ad>u"tment &or a!tion po"ition i" done on the !hee+ ;lo!+" hardware$ (oo"en the "!rew" and
mo)e the po"ition a" needed$ Clean +ey;ed and lu;ri!ate the &ri!tion point"$
8hen the"e "tep" are !ompleted, you !an "lide the a!tion in and out a" many time" a"
reDuired throughout the regulation pro!e"", +nowing that hammer-to-"tring alignment will ;e
!on"i"tent when the a!tion i" &irmly pu"hed to the rear$
3id you noti!e the intera!tion ;etween the dag", and how the a!tion &rame &it", and how the
!hee+ ;lo!+" &it, and how the a!tion "lide", and mo"t importantly how they all a&&e!t the a!tion
po"ition<
Io)ing on to ;edding the rail"$ Power i" lo"t and a;"or;ed within the a!tion &or many
rea"on" in!luding +ey &leA, hammer "han+ &leA, loo"e pinning, et!$ .ne o& the ;igge"t !ulprit" &or
energy lo"" i" poor +ey&rame ;edding, whi!h re"ult" not only in lo"" o& power ;ut !an al"o !reate
a ?woody@ "ound$ Iany a piano ha" ;een )oi!ed (it" tone !olor altered) and it" dynami!"
in!rea"ed ;y !orre!tly ;edding the &rame$
Io"t teAt;oo+" "how thi" ;eing done with the +ey" remo)ed and the a!tion "ta!+ mounted,
u"ing the ?paper "lip@ te!hniDue$ Thi" te!hniDue wor+" Duite well with hardwood rail" ;ut !an ;e
le"" e&&e!ti)e with many o& today:" &leAi;le a!tion &rame"$ The addition o& the +ey" add" a
!on"idera;le amount o& weight to the &rame and doe" not ne!e""arily add it e)enly$ Ju"t thin+ o&
the amount o& lead in the ;a"" +ey" and you will get the pi!ture$
There are two ;a"i! type" o& +ey&rame, #, rigid hardwood, and 2, &leAi;le "o&twood$ 8e will
treat ea!h type o& &rame "eparately when we deal with the ;alan!e rail$
Begin ;y rai"ing all o& the ;alan!e rail glide ;olt" "o they do not !onta!t the +ey;ed$ Be "ure
to !he!+ &or ;lind ;olt"$ 7or eAample, Gamaha piano" generally ha)e one or two ;lind glide ;olt"
(!ompen"ate" &or the eAtra +ey lead") that ha)e to ;e ad>u"ted &rom ;elow the rail$ Ia+e "ure the
;ed and &rame are !lean$
Gou "hould alway" do the ;a!+ rail &ir"t, li+e e)eryone el"e ("mile)$ 6"ing a long, thin-;lade
"!rewdri)er, "lide it down at the end damper" o& ea!h "e!tion and tap down on the +ey&rame ("ee
photo #)$ =& the &rame and ;ed produ!e an audi;le +no!+, mar+ the front o& the +ey&rame with
!hal+$ 1ometime" you !an get lu!+y ;y loo"ening all the a!tion ;ra!+et "!rew" and re-tightening
them in a di&&erent "eDuen!e$ Tighten the "!rew" &urthe"t away &rom the +no!+ &ir"t, rein"tall
a!tion and re!he!+$ Thi" Duite o&ten wor+" on 4"ian +ey&rame" with &leAi;le "o&twood$
=& you are unlu!+y, ta+e "ome powdered !hal+ or tal!um powder and "!atter "ome along the
length o& the +ey;ed at the ;a!+ rail !onta!t area$ =n"ert the a!tion a !ouple o& time"$ 8hen you
now remo)e the a!tion, the high "pot" o& the &rame will ;e mar+ed ;y the !hal+$ 6"ing a "anding
;lo!+ with 220-grit paper that i" at lea"t a" wide a" the rail, "and the high "pot" on the frame, not
the +ey;ed$ %eep repeating until the ;ed and ;a!+ &rame are &itted$ CautionC remo)e a little at a
time$ Remem;er, you !an ta+e it o&&, ;ut you !an:t put it ;a!+$
FeAt, the &ront rail$ 'old down a note without !ompre""ing the &ront-rail pun!hing and tap on
the +ey$ Repeat &or all 4" and E"$ Thi" will gi)e you "ample" a!ro"" the entire +ey;oard$ Iar+
the &ront rail with !hal+ in the area" where there i" an audi;le +no!+$ 1lide a pie!e o& 220-grit
"andpaper, grit "ide up, ;etween the &ront rail and the +ey;ed and "and the high "pot" o& the
&rame ;y pulling the "andpaper out ("ee photo 2)$ 4" with the ;a!+ rail, +eep repeating until it i"
&itted$ .n!e all i" well, go ;a!+ and re!he!+ the ;a!+ rail$ 4nother rea"on ne)er to "and the
+ey;ed i" that thi" !ould !au"e the +no!+ to reappear when the pedal i" u"ed$
4 "pe!ial note &or later-model Baldwin &rame"$ The"e &rame" are )ery rigid maple and ha)e
;oth &ront-rail glide ;olt" a" well a" ;alan!e-rail glide ;olt"$ 8hen ;edding thi" +ind o& &rame,
alway" "et the &ront rail &ir"t &or the Dui!+e"t and the ;e"t re"ult"$ The &ront rail i" a;"olutely &lat
with no traditional &ront lip and it &loat" on top o& the +ey;ed glide"$ The "iA to eight &ront-rail
glide ;olt" are ad>u"ted &rom the under"ide o& the +ey;ed$ The !learan!e &rom the rail to the
+ey;ed "hould ;e $020$K Thi" i" the thi!+ne"" o& the u"ual /K ma!hini"t rule$ Be&ore doing the
tapping aural !he!+, in"ert the ma!hini"t rule &our in!he" under the &rame and "lide &rom ;olt to
;olt$ =& it mo)e" "moothly, you ha)e !learan!e at the &ront and at the rear o& the rail$ =& not, ad>u"t
the ;olt" with a "lotted "!rewdri)er$ The $020@ !learan!e i" !riti!al$ 8ithout the !orre!t amount o&
!learan!e, it:" po""i;le to end up with no +no!+ing on the natural" ;ut ha)e +no!+ing on the
"harp"$ Thi" !an ;e te"ted ;y tapping hea)ily on the "harp"$ =& the !learan!e i" not !orre!t, the
rear o& the &ront rail may "lap again"t the +ey;ed$ 8ith proper !learan!e, though, e)en the mo"t
per!u""i)e playing will not &leA the &rame enough to +no!+, e)en on the "harp"$
Balan!e Rail - 'ardwood (Rigid) 7rame"
Remo)e only enough +ey" to do the "tandard paper "lip ad>u"tment o& the glide ;olt"$ The
&a!t that the a!tion i" weighted with the ma>ority o& +ey" will gi)e you a more a!!urate ;edding$
1ome hardwood &rame" ha)e "lotted ;lind glide" that ad>u"t &rom the top$ Gou will ha)e to
remo)e a +ey to ad>u"t themLa real pain, ;ut "orry, no "hort!ut"$ Begin with the "e!ond glide
;olt &rom the le&t$ Try li&ting up at the hammer rail and tapping downward on the ;alan!e rail
with the heel o& your hand to dete!t a +no!+ ("ee photo *)$ 4d>u"t the glide until the +no!+
di"appear"$ Continue to the neAt one on the right$ The outer glide" are the la"t to do$ Go ;a!+ and
!he!+ the pre)iou" one ea!h time a" you mo)e a!ro"" the rail$ (i"ten at ea!h glide &or a +no!+ing
"ound$ Read>u"t i& there are di&&eren!e"$ Repeat until no +no!+ "ound" anywhere a!ro"" the rail$
Re!he!+ ;oth the &ront and ;a!+ rail"$ =& you ha)e "!rewed the ;olt" down too &ar the outer
rail" will "tart to +no!+$ Ba!+ o&& the glide" and read>u"t$
Balan!e Rail - 1o&twood (7leAi;le) 7rame"
=t i"n:t ne!e""ary to remo)e the +ey"$ Ju"t thumping down on the ;alan!e rail with the ;olt"
up will produ!e Duite a ra!+et$ 1!rew down the !enter glide to ma+e !onta!t, then wor+ your way
outward until they all "ound "olid, re!he!+ing the pre)iou" one a" you go$ (i&t upward on the
hammer rail and &ine tune the tone until all +no!+" di"appear$ 4" a;o)e, re!he!+ the other rail"$
3id we mention intera!ti)e regulation< Gou !an now ;egin to )i"ualiBe how one &a!et o& the
regulation a&&e!t" another and why it i" ne!e""ary to regulate more than on!e$ Thi" need ;e!ome"
more and more apparent a" we mo)e through the pro!e""$
Chapter 2
%ey 'eight and (e)eling
The la"t !hapter !o)ered mating the +ey&rame with the +ey;ed and how important ea!h &a!et
intera!t" with it" neAt a" well a" it" pre)iou" "tep$ 8hen that part o& grand regulation ha" ;een
!orre!tly regulated, it "hould not ;e ne!e""ary to re-)i"it that area$ Io)ing &orward, we !ontinue
now with +ey height$
%ey height i" &undamental to any piano ;eing a;le to per&orm properly$ 7or u" a" te!hni!ian",
it demon"trate" a point that "hould ;e remem;eredC any change to the key affects the entire
regulation$ 4 "olid, well-regulated +ey i" e""ential to the pro!e"" o& produ!ing the de"ired
mu"i!al out!ome$ The "tep" in)ol)ed in a!hie)ing thi" are >u"t a" intera!ti)e with ea!h other a"
they were with +ey;ed and +ey&rame$ 8hen we tune, we e"ta;li"h a !on"tant, 4M0, and tune
e)erything el"e relati)e to that !on"tant$ .n!e +ey height i" "et, it ;e!ome" the !on"tant on whi!h
the re"t o& the regulation !enter"$ 4ll the remaining "tep" in the pro!e"" will regulate relati)ely to
that one !on"tant, +ey height$
E)en though thi" "erie" deal" only with the regulation pro!e"", we want to remind you that
"ometime" repair" are ne!e""ary ;e&ore a proper regulation !an ;e a!!ompli"hed$ .ne o& the
thing" you will ha)e !he!+ed ;e&ore "tarting the regulating pro!e"" i" the "tatu" o& the +ey
;u"hing"$ =t i" impo""i;le to do a good +ey-heightJle)eling >o; with ;adly worn ;u"hing"$
4 ;and-aid &iA that !an help "ell a +ey-;u"hing >o; i" to "how the !u"tomer the pro;lem &ir"t$
3emon"trate how re;u"hing will ;e e&&e!ti)e ;y "pringing the ;alan!e-rail pin &orward a little
with an awl to get the pin out o& the worn ;u"hing !up$ There "hould ;e $002K o& play at the
;alan!e rail ;u"hing$ (i&t the &ront-rail pun!hing" and turn the &ront rail pin" to ha)e $00,K o&
play$ Gou will noti!e that mo"t o& the tilted +ey" will ha)e di"appeared, the "pa!ing will impro)e
and the hammer line ha" !hanged a little$ Thi" demon"tration "hould ;e rather dramati! &or the
!u"tomer$
4nother e""ential thing to !he!+ prior to e"ta;li"hing +ey height i" the ;alan!e rail hole$ =t
"hould allow the +ey to &un!tion &reely a" a &ul!rum yet "imultaneou"ly hold it in a "ta;le
po"ition$ To !he!+ &or !orre!t "iBing, lightly hold the tail o& the +ey while rai"ing the &ront a tad$
The +ey "hould "lide "lowly, ;ut not too "lowly, ;a!+ to re"t$ =& it doe"n:t, then the ;alan!e hole i"
too tight$ =& it drop" with a thump, the ;alan!e hole i" too loo"e$ =& the hole i" too tight, !are&ully
ea"e with the Gamaha-"tyle grand +ey-ea"ing tool$ 4lways ease from the top, through the
bushings as shown in Photo 1, never from the bottom of the key$ =& the ;alan!e hole i" too loo"e,
"team or glue-"iBe the ;ottom o& the +ey$ =& you glue-"iBe, we re!ommend white glue a" it i"
ela"ti! (one part white glue to three part" water)$ 8e do not re!ommend C4 glue "in!e, o)er
time, it harden" Duite rigidly and !an ;e!ome a noi"e "our!e$
.n many manu&a!turer": "pe!i&i!ation "heet", +ey height i" "tated a" ;eing ?nominal,@ a ni!e
little word to dri)e you !raBy$ To interpret that word ?nominal@ and &or tho"e o& you who
a;"olutely mu"t ha)e an approAimate mea"urement, +ey height &or the natural" will generally ;e
in the )i!inity o& 2 #J2K or / mm$ =" that "pe!i&i! enough< =n our wor+, we mu"t remem;er not
to adhere to "pe!i&i! mea"urement" ea!h and e)ery time$ The"e manu&a!turer": "pe!i&i!ation" are
intended a" relati)e guide", not a;"olute"$ Be"ide", )ariety i" the "pi!e o& li&eN
Be!au"e e)ery piano i" di&&erent, we en!ounter many )aria;le" in!luding +ey height$ Thi"
may )ary &or many rea"on"$ 7or eAample, during manu&a!turing, +ey height may &reDuently ;e
altered due to a !a"e part &itting pro;lemH or the te!hni!ian ;e&ore you may ha)e altered the
height in a pre)iou" regulation$ Ju"t remem;er not to put your"el& into a ;ind that may !ome ;a!+
to haunt you later$
Fow, to determine the +ey height O nominal, o& !our"e$ 8e ;egin with the natural" &ir"t$ 1et
"ample +ey" #, 22 and the &i)e note" middle C to middle E, in our general )i!inity o& 2 #J2K$ The
"ample" on note" # and 22 will mat!h the length o& a 2K "traightedge$ Pui!+ly do a rough ;ut
!omplete regulation on the"e "ample +ey"$ =& you !an regulate the"e "ample", your +ey height
will ;e !orre!t$ =& you !an:t, add or remo)e ;alan!e rail pun!hing" a" needed to allow you to
regulate the "ample"$
=&, a&ter adding or remo)ing pun!hing", the"e "ample note" will "till not regulate, per&orm the
&ollowing !he!+"$ 8ith $0#,K to $020K o& a&tertou!h on the natural", !he!+ to "ee that the dip i"
;etween $*2,K and $20K$ =& dip and a&tertou!h are out"ide o& thi" range, !he!+ that the hammer
height i" ;etween # *JK to # 0J2K$ =& dip, a&tertou!h and hammer height are all within the"e
range" and the"e note" "till will not regulate, the pro;lem i" mo"t li+ely an a!tion geometry
pro;lem and i" out"ide the "!ope o& thi" arti!le$
1in!e our "ample" did regulate, we:)e determined that +ey height i" !orre!t$ Fow we are
ready to le)el the remainder o& the natural" to that height$ .ur o;>e!ti)e i" to o;tain a "traight
line at the !orre!t height a!ro"" the +ey;oard$ ipC Be&ore !ontinuing to "et the +ey height &or the
re"t o& the +ey;oard do a "imple !he!+$ 8ith the a!tion and !a"e part" in their proper pla!e", the
&ront" o& the "ample" you >u"t "et "hould &orm an approAimate "Duare relati)e to the +ey"lip$
FeAt, !he!+ that there i" a !learan!e o& #J#/K to #J2K ;etween the top o& the"e and the &all;oard$
The"e !he!+" will a)oid the mi"hap o& &ini"hing a !omplete +ey le)el and then &inding that when
the !a"e part" are put ;a!+, the +ey" pu"h down, or the +ey"lip i" too !lo"e to the +ey", or "ome
other goo&-up ha" o!!urred$
8hen "tarting &rom "!rat!h or when the +ey;ed o;)iou"ly i" une)en, we re!ommend "etting
+ey num;er" # and 22 and wor+ing &rom only the"e two "ample"$ Remem;er to u"e "ome +ind o&
"upport under the +ey" to en"ure the "ample" "tay at the height you >u"t determined and that the
weight o& the "traightedge doe" not depre"" the +ey"$ 4n ea"y method i" to remo)e the &elt
pun!hing" and repla!e them with the hea)y !ard;oard pun!hing"H then tape the "ample +ey" to
the +ey&rame a" "hown in photo 2$ Pui!+ly rough into the ;allpar+ range ;y putting on the &ir"t
"et o& ;alan!e rail pun!hing"$ .n!e in that ;allpar+ range, ;ring out your 2K "traightedge and
;egin the &inite pro!e""$ (ipC 6"ing the pre-"hrun+ &elt pun!hing" or ironing the regular
pun!hing" gi)e" a ni!e, "olid &eel and they "eem not to !ompre"" a" mu!h later on$)
'olding the "traightedge at one end, rai"e the other end >u"t "lightly and let it drop down$
(1ometime" a "horter "traightedge wor+" ea"ier &or thi" te"t$) The drop o& the "traightedge will
!au"e the +ey" that are too high to mo)e$ 4n alternate method i" to depre"" the +ey and li"ten &or
a !lun+ again"t the "traightedge on it" return$ =& the +ey i" too high, you will hear it$ Repeat
"e)eral time" to ma+e "ure you !at!h all high one"$ 6"ing !hal+ or light pen!il O anything that
you !an later remo)e all mar+ing" O ma+e a mar+ on the &ront rail &or ea!h one that need" to ;e
ad>u"ted$ (ipC Color-!ode your !hal+ mar+" to mat!h the !olor o& pun!hing" to ;e remo)ed or
added$) Remo)e ;alan!e rail pun!hing" to a!hie)e the de"ired height$ 8e are a""uming that you
already +now how to add and remo)e paper pun!hing" and that you do !arry them in your tool
!a"e$ !ipC Gina "wear" ;y the "urgi!al &or!ep"H Roger "wear" ;y the K "urgi!al tweeBer"H ;oth
are a)aila;le &rom medi!al "upply hou"e"$) 4 !autionary reminderC when adding or remo)ing
pun!hing" with the +ey" in pla!e, prote!t the "tret!her "o that you don:t ma+e "!rat!h mar+" with
the drop "!rew"$
.n!e you ha)e eliminated all the too-high +ey", neAt addre"" the too-low one"$ 8ith the
"traightedge in pla!e, loo+ &or "pa!e" ;etween it and the +ey$ =& there i" a "pa!e, the +ey i" too
low$ 7or a""uran!e, attempt to rai"e ea!h +ey O tap, tap up and li"tenH gli""ando down and li"tenH
i& you hear any "ound" the +ey i"n:t le)el$ Iar+ the too-low +ey" with your !olor-!oded !hal+
and add pun!hing" until the de"ired height i" a!hie)ed$ (ip" 4nother method i" to pla!e the
pun!hing" on the ;alan!e rail pin a" you !he!+ ea!h noteH thi" eliminate" the need to !hal+$) 7or
a &inal !he!+ to en"ure all the natural" are le)el, "hine a &la"hlight &rom the "harp "ide o& the 2K
"traightedge$ Thi" will "how up the "malle"t imper&e!tion" with height or tilting$
4" you are le)eling the +ey" pay !lo"e attention to any +ey", natural" and "harp", that may ;e
tilted$ 6"ing a ;lunt "!rewdri)er or the end o& the "hort "traightedge, tap the top o& the ;alan!e
rail pin le&t or right a" needed to "traighten the +ey$
FeAt, determine the "harp height$ Ju"t a" the natural" are in the )i!inity o& 2 #J2K, the top o&
the "harp" will ;e in the )i!inity o& #J2K a;o)e the natural"$ 4lmo"t all o& the "tep" u"ed in "etting
the height and le)el o& the natural" apply to "etting the height and le)el o& the "harp"$ The ma>or
di&&eren!e i" that we u"e the top o& the natural it"el& rather than the +ey;ed to "et the height o& the
"harp$ Pro!eed a" you did in "etting the natural"$ Remem;er to "upport the "traightedgeH #JK
wooden ;lo!+" with hea)y !ard;oard pun!hing added a" needed then taped together wor+ well$
8hen you ha)e &ini"hed le)eling the "harp", the wood o& the +ey will u"ually ;e "lightly higher
than the ad>a!ent natural"$ Thi" i" mo"t noti!ea;le >u"t to the rear o& the +eytop material and i"
Duite normal$
'ere i" a tip &or 1teinway a!tion" that ha)e ;alan!e-rail ;earing"$ 8ith the "ta!+ and +ey" o&&,
ma+e a &re"h pen!il mar+ a!ro"" the &ront" o& the ;earing"$ Then loo"en the &ront &elt that hold"
them in pla!e on the &rame$ Thi" will allow you to in"ert ;alan!e rail pun!hing" &rom under the
+ey&rame$ #autionC 8hen the +ey le)eling pro!e"" i" !ompleted, always re-&a"ten the &elt and
ma+e !ertain that the ;earing" are aligned in their !orre!t po"ition"$
The la"t "tep in regulating the +ey" i" "pa!ing them$ Beginning with the natural" "et the +ey"
"o that there i" eDual "pa!e ;etween ea!h$ =& the "pa!ing i" not e)en, in"ert the +ey "pa!ing tool
beneath the pun!hing" o& the &ront rail pin to a)oid ni!+ing the pin andJor !reating other
pro;lem"$ Care&ully ;end the pin in the !orre!t dire!tion to e)en out the "pa!ing$ .n!e all
natural" are "pa!ed, repeat the pro!e"" with the "harp"$
4ll the +ey" are now "et at the !orre!t height, le)eled, "Duared and "pa!ed$ 6"ing a ;lo!+ o&
wood (your "traightedge will wor+), pre"" down on ea!h rail with a" mu!h ;ody weight a" you
!om&orta;ly !an$ Thi" will pre-!ompre"" the pun!hing", gi)ing an e&&e!t mu!h li+e many hour"
o& playing will do$ 3on:t o)erdo it and ;rea+ a +ey$ Re!he!+ the +ey le)el &or any !hange" that
may ha)e o!!urred and tou!h up a" ne!e""ary$
Through ea!h "tep o& a!hie)ing a !orre!tly regulated +ey, one "tep a&&e!ted another$ 8ithout
the pre)iou" "tep !orre!tly regulated, the neAt would ;e impo""i;le to regulate !orre!tly O
another rein&or!ement o& how the"e "tep" intera!t with ea!h other$
Io"t manual" !o)er dip a" the neAt pro!e""$ 8e:re not$ 4t thi" point we "et rough dip at
around $00K O >u"t enough to allow adeDuate a&tertou!h and en"ure that the "harp" don:t ;ury
;elow the natural"$
Chapter *
'ammer"han+"
1o &ar, we:)e mated the +ey&rame to the +ey;ed and regulated the +ey"$ FeAt, we wor+ with
the hammer"han+" to en"ure that a" they mo)e &rom the re"t rail to the "tring" there i" the "ame
amount o& "pa!e ;etween ea!h and that the hammer "tri+e" the "tring "Duarely$ .ur o;>e!ti)e i"
&or the "han+ to tra)el &rom it" re"t point, in a "traight line, parallel to the other", "o that ea!h
hammer &orm" a 50-degree tangent a" it "tri+e" the "tring$
(FoteC =& you are at a >o; "ite with no wor+;en!h, a" we u"ually are when doing &ine !on!ert
regulation, an ideal "olution i" to u"e the a!tion !a)ity$ Pla!e the a!tion into the !a)ity, +ey"-&ir"t$
7lip the hammer" upward "o the !rown" o& the hammer" are re"ting on the "tret!her$ Gou now
ha)e a per&e!t wor+ ta;le$ 1ometime" a &ull "ur&a!e i" ne!e""ary$ =n tho"e !a"e", lower the piano
lid, pla!e a prote!ti)e !o)er on it and u"e it a" a wor+;en!h$)
Be&ore we tra)el the "han+", it i" ne!e""ary to ma+e "ure that the a!tion !enter" in the
hammer &lange" and in the wippen a""em;lie" wor+ properly$ 1pe!i&i!ally, we are tal+ing a;out
the hammer"han+ &lange and the three wippen !enter"C >a!+, repetition le)er and &lange$ 4ll mu"t
;e &ree enough to allow &or "mooth up-and-down mo)ement, yet ha)e enough &ri!tion not to
allow "ide-to-"ide mo)ement$ Te"t ea!h$ Fo !enter "hould ha)e more than three to &our gram" o&
&ri!tion$ Iore than that will impede repetition$ ReminderC when !he!+ing the >a!+ !enter and the
repetition le)er !enter, remem;er to di"engage the "pring ;e&ore te"ting$ Both "hould mo)e &reely
with no ;inding$
4 "imple method o& !he!+ing &or "luggi"h &lange !enter" i" to remo)e the "ta!+ and gently
"wing it "o that all the "han+" mo)e$ 1luggi"h hammer &lange" will immediately ;e o;)iou"$ Gou
!an u"e thi" "ame method &or te"ting "luggi"h wippen &lange", although it reDuire" !lo"er
o;"er)ation$ 4nother "tandard te"t i" to put the &lange "!rew into the &langeH the &lange "hould
drop gently downward o& it" own a!!ord$ Thi" te"t wor+" eDually well &or ;oth &lange"$
The hammer "wing te"tC The hammer "hould "wing &rom &our to "iA time", although we
"trongly re!ommend a maAimum o& &i)e, e"pe!ially in the &i&th o!ta)e$ The mo"t important
a"pe!t i" to ha)e the pinning a" !on"i"tent and e)en a" po""i;le in e)ery !enter throughout the
a!tion$
The rea"on &or the range in the "wing te"t i" "impleC relati)e humidity$ =n the 1outh, humidity
range" mu!h higher, "ometime" a" mu!h a" #00 per!ent, !au"ing ;u"hing" and the wood around
them to "well and !ontra!t$ =n !entral Canada, the drier !limate may not a&&e!t the ;u"hing" a"
mu!h ;ut !ertainly !an ha)e a" mu!h ad)er"e e&&e!t on the wood it"el&$ =t i" important to
remem;er that wood a;"or;" moi"ture mu!h more rapidly than it lo"e" it and allowan!e" mu"t ;e
made &or the"e !hange"$ 8e point thi" out "in!e many time" piano", e"pe!ially !on!ert
in"trument", !an ;egin in one part o& the !ontinent and wind up in a !ompletely di&&erent part$
'umidity i" a &a!tor that mu"t ;e !on"idered$ (ater in the "erie" we will "ee how !hange" in
relati)e humidity a&&e!t other a"pe!t" o& !on!ert regulation$
=& any o& the !enter", ;oth hammer &lange and wippen, are too loo"e, repin with the neAt
larger "iBe$ (8e a""ume you are adept at re-pinning and will not ela;orate$)
=& any o& the !enter" are too tight, we re!ommend u"ing a "hrin+ing "olution i& time permit"$
Gina pre&er" denatured al!ohol and waterH Roger, ;eing more e!onomi!al (a+a !heap), u"e" plain
ru;;ing al!ohol and water$ 8e ;oth u"e a ,0C,0 "olution and ;oth o& u" u"e thi" method when we
+now that we ha)e 2 hour" a&ter appli!ation &or the "olution to dry naturally$ 8e do not
re!ommend a!!elerated hot-air drying a" thi" !an o)er"hrin+ the !loth and potentially !au"e
premature eApan"ion o& the wood, re"ulting in loo"e pinning pro;lem"$ (a!+ing thi" 2-hour time
&rame and in a pin!h "ituation, Prote+ wor+" wellH ;ut, more o&ten than not, thi" pro;a;ly will ;e
a temporary &iA$
8arning noteC "ome 4"ian model" ha)e eAperien!ed plating andJor !hemi!al rea!tion
pro;lem" with their !enter pin"$ Complete reaming and re-pinning i" the only "olution and thi"
in!lude" the damper underle)er" a" well$
TipC 8ith pra!ti!e you !an learn to hear loo"e !enter" Duite !learly$ 8e are not tal+ing a;out
the o;)iou", audi;le !li!+" related to other mal&un!tion", ;ut a wea+ne"" in tone !olor$ Play )ery
e)enly &ingered !hromati! "!ale" "lowly and "o&tly$ (i"ten !are&ully to the de!ay$ (oo"e pinning
will de!ay mu!h &a"ter ;ut "ound more on the atta!+$ .n!e ma"tered, thi" will ;e a te!hniDue and
)ery )alua;le tool that you will u"e e)ery time you )oi!e$ =t:" e"pe!ially e&&e!ti)e and help&ul in
the ?+iller@ o!ta)e range$
=& neither o& the liDuid "olution" "ol)e the pro;lem, remo)e the !enter pin, ream the ;u"hing
and repin$ =& the entire a!tion i" "luggi"h, "orry, ;ut we:)e not &ound any &a"t, relia;le &iAe"$ Thi"
i" one o& tho"e item" that "hould ;e !are&ully !he!+ed ;e&ore ;eginning the regulation pro!e"", a"
the only relia;le and long-term repair i" u"ually repla!ement o& the"e part"$
.n!e all the !enter" are &un!tioning !orre!tly, we addre"" the "han+"$ 1lide a "traightedge
under a "e!tion o& "han+", "lowly li&t and o;"er)e &or any "ide-to-"ide mo)ement ("ee Photo #)$
TipC ta+e a pie!e o& hardwood approAimately #K A #0K, mar+ )erti!al line" a!ro"" it" width$
Clamp the end o& the "traightedge to ea!h end "han+ o& the "e!tion you are wor+ing onH thi" will
ena;le to you "ee the "lighte"t mo)ement and ea"ily >udge how mu!h !orre!tion i" reDuired$
8hen any mo)ement i" dete!ted, pla!e a pie!e o& tra)eling paper ;etween the &lange and the
rail on the "ame "ide o& the &lange toward whi!h the mo)ement o!!ur"$ The amount o& !orre!tion
!an ;e ad>u"ted ;y the length and thi!+ne"" o& the tra)el paper$ 7or more mo)ement !orre!tion,
in"ert the tra)el paper &urther under the &lange$ 4lway" atta!h the tra)el paper to the &lange, not
the rail$ 8e re!ommend u"ing plain gummed ;rown tape !ut into "trip"$ 8e do not re!ommend
"andpaper &or tra)el paper a" it u"ually &all" out the neAt time the &lange i" remo)ed$ Continue
until all hammer &lange" are a;"olutely "ta;le, with no mo)ement o& the hammer "han+" a" they
are li&ted &rom their re"t point to their let-o&& point$ =& any mo)ement i" allowed to remain, the
hammer will not "tri+e the "tring at the 50-degree angle$ Thi" will !au"e tonalJ)oi!ing pro;lem",
lo"" o& power and early wear and tear o& the !enter"$
.n!e the "han+" are tra)eled !ompletely, !he!+ the hammer angle$ .;"er)e the "pa!e"
;etween the hammer", ;oth at top and ;ottom$ 8ith the hammer "han+" at re"t, )i"ually in"pe!t
&or hammer" that loo+ "+ewed$ =& any are more than a !ouple o& degree" o&& &rom "Duare, remo)e
and reglue$ 7or tho"e other" that are not a;"olutely "Duare, u"ing a heat "our!e (we re!ommend a
heat gun li+e the 6nger or "imilar) apply the heat up and down the "han+$ .n!e it i" heated, twi"t
the hammer in the dire!tion needed &or !orre!tion$ 4" you are twi"ting the hammer, "lightly o)er-
twi"t it, remo)e the heat "our!e, hold the hammer in thi" po"ition &or a &ew "e!ond" more, then
relea"e$ 9i"ually !he!+ to "ee i& the new po"ition i" !orre!t$ =& not, repeat$ Be !are&ul not to
o)erheat and ;urn the "han+H li+ewi"e, ta+e !are not to twi"t an unheated "han+ a" it i" )ery
"u"!epti;le to ;rea+age and thi" !ould al"o damage the &lange$ =t:" mu!h ;etter to do thi"
pro!edure in "mall in!rement" to pre)ent o)er-angling in the other dire!tion$ The end re"ult
"hould ;e a hammer that will "tri+e all it" re"pe!ti)e "tring" at the "ame time$
'ammer alignment to "tring"C our o;>e!ti)e i" to pla!e the hammer in a po"ition that will gi)e
the mo"t power and the maAimum u"e o& the tonal range o& the una !orda pedal$ 1et the hammer
"o that the le&t "tring i" >u"t "lightly to the right o& the le&t "ide o& the hammer and ma+e "ure that,
a" the hammer "tri+e" the "tring", there i" &ull !onta!t allowing &or thi" maAimum range o& tonal
!olor$ Ta+e !are not to "et the hammer "o &ar to the right that, when the una !orda pedal i" u"ed,
the hammer "tri+e" the le&t "tring o& the ad>a!ent note$
1e)eral method" !an ;e u"ed to ad>u"t thi" "tep$ .ne o& the ea"ie"t i"C with the a!tion on your
lap, pla!e a "o&t !loth (the +ey !o)er "trip that !ome" with many 4"ian piano" wor+" eAtremely
well) o)er the top" o& the wippen a""em;lie"$ Cut a "trip a;out # #J2K wide and long enough to
do a "e!tion$ Pla!e the "trip on top o& the >a!+" and drop the hammer "han+" ;a!+ into po"ition
("ee Photo 2)$ 8hen you pla!e the a!tion ;a!+ in, ;y "lowly depre""ing the +ey" you will &ind
that the hammer" will ;lo!+ mu!h more ea"ily "in!e they will almo"t ;e tou!hing the "tring"N
Thi" will allow you to !he!+ two thing" in one operationC &ir"t, the hammer po"ition with re"pe!t
to the "tringH "e!ond, "in!e the damper i" now li&ted, you !an al"o plu!+ the "tring" and !he!+
hammer "hape and "tring le)el$ 4 "harp pen!il !an ;e u"ed to lightly mar+ the "tri+e point o& the
hammer" that will need mo)ing$ 6"ing the "tring a" a guide to ma+e the mar+ will "how you how
&ar to mo)e ea!h hammer$ Thi" method !an "a)e on the num;er o& time" you will need to mo)e
the a!tion in and out o& the drawer$
Fow "lide the a!tion ;a!+ in$ 8ith your &inger on the >a!+, &ini"h rai"ing ea!h hammer
!ompletely to the "tring$ 1imultaneou"ly a" you are !he!+ing &or !orre!t alignment o& the
hammer to the "tring, al"o !he!+ that the "tring" are e)enly "pa!ed a" well$ Chal+ mar+ tho"e
&ound to ;e in!orre!t$ FoteC i& all the hammer "pa!ing i" in!orre!t in only one dire!tion, ma+e the
!orre!tion at the +ey&rame "top ;lo!+$ =& the hammer" need to ;e mo)ed &arther to the right,
remo)e the "top ;lo!+ and pla!e a "trip o& paper the thi!+ne"" o& the amount o& !orre!tion needed
;ehind the ;lo!+H repla!e the ;lo!+$ Re!he!+$ =& they need to ;e mo)ed to the le&t, remo)e the
&ir"t "trip that i" u"ually already thereH repla!e the ;lo!+, re!he!+$ =& there are no paper "trip", it i"
po""i;le to "and the "top ;lo!+ )ery "lightly$ 6"e !autionN 8e do not re!ommend that you "and
until you:)e gained "ome eAperien!e in thi" pro!e""$ 8ith pra!ti!e, you will Dui!+ly learn to
>udge the thi!+ne"" reDuired &or !orre!tion$
Remo)e the a!tion$ 8or+ing with only tho"e you ha)e mar+ed, loo"en the &lange "!rew and
with the "!rewdri)er ;etween the &lange and it" neigh;or, mo)eJpi)ot the &lange to the new
po"ition, then re-tighten the "!rew$ Repla!e the a!tion and re!he!+$ 1pa!e and le)el any "tring"
noted to ;e in!orre!t at thi" time a" well$ Repeat until all hammer" and "tring" are properly
"pa!ed$ 1ometime" mo)ing the &lange i" not enough to !orre!t the "pa!ing$ =t may ;e ne!e""ary
to paper it at the ;a!+ "ide o& the &lange (thi" i" not the "ame area u"ed to !orre!t hammer tra)el)$
7or tho"e piano" that u"e the !hee+ ;lo!+" to po"ition the a!tion, o& !our"e you mu"t put them in
ea!h time you put the a!tion ;a!+ in$ 7or tho"e piano" that don:t, remem;er to !he!+ with the
!hee+ ;lo!+" "!rewed in a" a &inal "tep$ 8hen &ini"hed, don:t &orget to era"e all !hal+ mar+"$
.n "ome in"trument", you will &ind that a&ter !orre!tly "pa!ing and tra)eling the hammer",
"ome o& the +nu!+le" will ;e ru;;ing again"t ea!h other$ Gou ha)e two !hoi!e"H either ;rea+ the
+nu!+le glue >oint and repo"ition, or trim the "ide o& the +nu!+le with a )ery "harp raBor or Q-
a!to +ni&e$ Either way, thi" mu"t ;e !orre!ted$ =& not, per&orman!e will de&initely ;e ad)er"ely
a&&e!ted$
=& the hammer line "eem" to )ary with di&&erent inten"itie" o& tou!h, the pro;a;le !au"e will
;e ;adly worn +nu!+le" or one" that ha)e ;een treated with "ome type o& grea"y lu;ri!ant$ 8ith
the latter, u"ing a ;ra"" ;ru"h, !lean the goop o&& with naphtha then apply Te&lon powder
(a)aila;le &rom Bill 1purlo!+)$ Badly worn +nu!+le" "hould ;e repla!ed "in!e a &ine-tuned
regulation will ;e impo""i;le to a!hie)e with them$
=& the +nu!+le" had groo)e" and "ome o& the hammer" ha)e ;een repo"itioned, the >a!+ or
repetition le)er window may now ;e li&ting the +nu!+le on a )ery "mall "ur&a!e o& )irgin leather$
Thi" will wear )ery Dui!+lyH ;e prepared that your regulation may not la"t long$ =& the +nu!+le"
are in good !ondition, we re!ommend ;ru"hing them with a ;ra"" ;ru"h and then applying the
Te&lon powder$ =& the +nu!+le" are "lightly worn and ha)e o&&-!enter groo)e" &rom their old
po"ition along the repetition le)er window and >a!+, lightly re"hape the +nu!+le" with a *J2K-
wide "trip o& 220-grit "and paper$ Ju"t lightly draw the paper around the !ontour o& the +nu!+le"
and Te&lon powder the now-rai"ed nap o& the leather$ 4 "ta;le hammer line !annot ;e a!hie)ed
without a +nu!+le that ha" the proper "hape and proper alignment$
The wippen" now need to ;e "pa!ed and tra)eled and >a!+" need to ;e !entered in the
repetition le)er window "lot$ 8e !enter the wippen !loth with the !ap"tan, the >a!+ tender with
the let-o&& ;utton and the +nu!+le on the repetition le)er$
Rai"e the "han+" and o;"er)e the wippen a""em;lie"$ Remo)e any wippen" that ha)e >a!+"
ru;;ing or too !lo"e in the "lot$ Be&ore ;ending the >a!+ !enter pin, hold the ;ottom o& the
wippen &irmly in your hand and !he!+ &or any mo)ement in the glue >oint o& the repetition le)er
&lange po"t$ (oo+ing &rom the top o& the repetition le)er downward, !ompare it" alignment with
the lower "e!tion o& the wippenH the two edge" "hould ;e parallel$ =& ;y twi"ting on the po"t you
!an !enter the >a!+, !are&ully ;rea+ the >oint and reglue$ 4lmo"t hal& o& the time thi" i" the !au"e
o& ru;;ing >a!+", "o thi" !he!+ i" e""ential &or proper alignment$
=& the two edge" are parallel, ;ut the >a!+ i" "till ru;;ing or too &ar o&&-!enter, repin$ =&
repinning doe" not !orre!t the alignment, ;end the !enter pin$ 4n ea"y method i" to pla!e the
wippen a""em;ly on the edge o& the "ta!+ "o that the >a!+ i" "upported on the "ide whi!h need" to
;e ad>u"ted$ Gently tap on the top o& the >a!+ with a "mall ru;;er hammer or "imilar tool until the
>a!+ i" !entered$ Remem;er, "mall in!rement"$ The o;>e!ti)e i" to a!hie)e the !orre!tion ;ut not
damage the ;ird"eye$
(ower ea!h "han+ indi)idually and !he!+ ea!h "han+ and wippen a""em;ly &or !orre!t
alignment$ Chal+ all in!orre!t one"$ 4ddre""ing ea!h indi)idually, &ir"t loo"en the "!rew and
mo)eJrotate the wippen to the new po"ition, re-tighten and o;"er)e i& thi" !orre!t" the alignment$
=& not, paper the &lange ;etween the rail and &lange to !enter the lower part o& the wippen to
!ap"tan$ Thi" will u"ually !enter the >a!+ heel with the let-o&& ;utton$ Fote that "ometime" a
dou;le ad>u"tment o& rotation and papering i" ne!e""ary to !orre!t the alignment o& the >a!+ to
the let-o&& ;utton ("ee 7igure #)$
Iating the repetition le)er to the +nu!+le i" a!hie)ed ;y loo"ening the &lange "!rew and twi"ting
the wippen &rom the &ront$ =n "ome !a"e" you will need to "him ;etween the lip o& the rail and the
;ottom o& the &lange$ Thi" will not ;e the "ame pla!e you "himmed &or the >a!+ to let-o&&
alignment$ (Fow you !an ;etter under"tand why we re!ommend gummed tra)el paper rather than
"andpaper$) Papering the &lange and twi"ting the wippen i" Duite intera!ti)e "o ;e !are&ul$ Thi" i"
another >o; that !all" &or "mall in!rement"$
4ll o& the "tep" !o)ered "o &ar "how how important that "!rewdri)er i" a" a regulating tool$
Fow that we:)e !ome thi" &ar, PhewN Jo+ing a"ide, a top-Duality regulation will not ;e a!hie)ed
unle"" all !omponent" are !orre!tly aligned and mated$ 4ny mi"alignment !an ;e a "our!e o&
energy lo""$ 8e hope you are "eeing now >u"t how important it i" to ha)e made all the"e prior
ad>u"tment"$ They are a" mu!h a part o& the regulation pro!e"" a" i" "etting let-o&& and drop$ They
are e""ential ;e!au"e the "u!!e"" o& the re"t o& the pro!e"" i" dependent upon them$ =ntera!ti)e
regulatingN
Chapter
The 'ammer (ine
=n our la"t !hapter we aligned the hammer" to the "han+" and the "han+" to the wippen"$
Be&ore pro!eeding &urther there i" one la"t, important "tep in thi" alignment o& part"$ Remem;er
to re-tighten all "!rew" in the a!tionC hammer &lange, wippen &lange and a!tion ;ra!+et "!rew"$
Tighten the "!rew" &irmly ;ut not too tight, "nug ;ut not "o "nug that it might damage the &lange
or "trip a "!rew hole$ 4&terward" re!he!+ to "ee i& tightening the"e "!rew" mo)ed anything in the
hammer or wippen a""em;ly$ =& "o, read>u"t$
Fow that we ha)e mated the +ey;ed to the &rame, regulated the +ey", aligned the "han+" to
the wippen", the hammer line will ;e all o)er the pla!e "in!e e)ery one o& the"e ad>u"tment" ha"
a&&e!ted it in "ome way$ 8hen you o;"er)e an une)en hammer line, thin+ o& it a" a "ymptom
rather than the !au"e o& "ome malady$ Thin+C what i" happening that !au"e" that line to ;e une)en
and what need" to ;e done to !orre!t it<
FeAt i" to ;egin ma+ing that hammer line e)en$ 8hat "pe!i&i!ation" do we u"e< .n!e again,
we will not ;e u"ing "pe!i&i! dimen"ion" &or regulationH rather we will u"e general one"$ Thi" i"
not only ;e!au"e di&&erent manu&a!turer" ha)e di&&erent "pe!i&i!ation" ;ut, primarily, ;e!au"e we
are trying to "timulate you into thin+ing a;out the !au"e and e&&e!t o& e)ery ad>u"tment to lead to
a greater under"tanding o& the a!tion$ Ju"t +eep in mind that e)ery a"pe!t o& regulation will
alway" ;e within general range" li+e we di"!o)ered with +ey height$ Remem;er, in our wor+
there are no a;"olute"$ .ur o;>e!ti)e i" alway" to &ind whi!h range" wor+ &or the piano we are
!urrently regulating$
1et a )ery Dui!+ hammer lineH it doe"n:t matter how mu!h ;low di"tan!e there i" at thi" point$
The thi!+ne"" o& the "han+ o&& the re"t rail i" a good general rule, a" thi" will pla!e the hammer
)ery near it" ideal "pot$ FeAt, !he!+ e)ery note to "ee i& it ha" dropH the amount doe" not matter
at thi" time only that it ha" drop$ Third, !he!+ e)ery note &or "ome "pring ten"ion$ 4gain, it
doe"n:t matter how mu!h, >u"t that the "pring ha" enough ten"ion to produ!e li&t a&ter !he!+ing$
=& hammer di"tan!e i" !lo"e and you ha)e drop and "pring on ea!h note, you !an pro!eed with the
regulation$ =& not, &ir"t "ee i& in!rea"ing the ten"ion o& the "pring will allow the hammer to !he!+$
=& that doe"n:t wor+, then "ome pro;lem eAi"t" that wa" o)erloo+ed during the pre)iou" wor+$ =t
i" impo""i;le to regulate a note that doe" not ha)e drop and "pring$ 3etermine the !au"e and &iA it
now$
'ere i" a Dui!+ !he!+ &or repetition "pring", e"pe!ially ;utter&ly "pring"C 1ometime" you will
&ind that "omeone pre)iou"ly ad>u"ted the lower "ide o& the repetition "pring$ =& thi" ha" ;een
done, the &or!e &rom the "pring i" not di)ided e)enly$ 3epending on the geometry o& the "pring
and &ri!tion o& the !enter pin !oil, the re"ult !an ;e a "trong repetition +i!+ ;ut a wea+ >a!+$ (oo+
down &rom one end o& the a!tion to "ee that all the lower "e!tion" o& the "pring" are rea"ona;ly in
lineH ad>u"t the o;)iou" ;ad one" ("ee Photo #)$
Te"t ea!h >a!+ with your &inger &or "pring ten"ion and a Dui!+ return$ 8ith the a!tion on your
lap, rai"e the hammer and depre"" the +ey ;etween the ;alan!e rail and the !ap"tan with one
hand$ Thi" &ree" the wippen a""em;ly &rom the &or!e o& the +ey and remo)e" all pre""ure &rom
the heel o& the >a!+ and the let-o&& ;utton$ Io)e the >a!+ ;a!+ and &orth with the other hand, &eel
&or "pring ten"ion and wat!h &or the >a!+ to return Dui!+ly$
1in!e ad>u"ting the >a!+ to the +nu!+le will a&&e!t hammer line, "et thi" now$ 1etting the >a!+
po"ition i" !ru!ial &or !ontrol o& the hammer "han+:" upward mo)ement and "hould ;e done
;e&ore "etting >a!+ height$ 1et the >a!+ "o that it will gi)e the mo"t power and the &a"te"t return
&or maAimum repetition "peed$ (i&t all the hammer" and wor+ &rom one end to the other$ %eeping
your eye on the "ame le)el, drop one "han+, depre"" the repetition le)er and loo+ where the >a!+
re"t"$ Relea"e the repetition le)er$ 4d>u"t the >a!+ po"ition ;y turning the "!rew on the &ront o&
the >a!+ "o that the rear edge o& the +nu!+le !ore align" with the rear edge o& the >a!+ a" in 7igure
#$
=n thi" po"ition the >a!+ will remain in a tangent to the +nu!+le throughout it" entire &orward
mo)ement en"uring the mo"t power and "peed$ =& the >a!+ i" too &ar &orward, it may e"!ape too
early and lo"e !ontrol e"pe!ially on a fff ;low$ =& it i" too &ar to the rear, it will ha)e eA!e""
&ri!tion &rom it" longer return under the +nu!+le and repetition will "u&&er$ 4&ter all ha" ;een
ad>u"ted, !he!+ ea!h ;y holding the hammer in it" re"t po"ition and "tri+e the note with a &irm
;low$ =& !orre!tly "et, the >a!+ "hould remain under the +nu!+le$
4&ter "etting all 22 >a!+", rai"e the hammer "han+"$ The >a!+" "hould ;e in an almo"t "traight
line$ =& any are not, re!he!+$ 1ometime" the +nu!+le will ;e out o& alignment !au"ing the >a!+-to-
+nu!+le "etting to appear di&&erently than it" neigh;or"$ =gnore thi"$ 4" long a" the >a!+ i" "et in
it" !orre!t !ore po"ition, loo+" don:t matter$ 8hat i" important i" &or ea!h >a!+ to ;e "et at that
"ame !ore po"ition$
FoteC Gina "et" all 22 indi)idually$ Roger "et" E# and E22, then u"e" a "traightedge or Taut
(ine Regulation Guide (T(RG a)aila;le &rom Pianote+) to "et the >a!+ line and then ad>u"t" any
o& the mi"pla!ed +nu!+le" indi)idually a" "hown in Photo 2$
1ometime", in a !on!ert "ituation where we are gi)en the time to regulate to the mo"t in&inite
po""i;ility, we may "et the >a!+ >u"t "lightly &orward$ Thi" will in!rea"e repetition "peed ;ut run"
the ri"+ o& !at!hing and not returning$ =t i" &right&ully em;arra""ing i& it doe" happen "o we do
not re!ommend it to tho"e who are leery$ Faturally when we do thi", we triple !he!+ e)ery note
;e&ore the !on!ert piani"t rehear"e" on it (and then pray)$
FeAt i" to "et the height o& the >a!+ in the repetition le)er window$ Thi" a!ute ad>u"tment
e&&e!t" the "peed o& the repetition and "hould ;e gi)en )ery !are&ul attention$ 8e "et the height o&
the >a!+ "o that it i" >u"t "lightly ;elow the top o& the repetition le)er$ The o;>e!ti)e i" to "et it "o
that the >a!+ will return under the +nu!+le a" Dui!+ly a" po""i;le with no lo"t motion$ (o"t
motion in thi" )ery !riti!al area greatly dimini"he" power and !au"e" the tou!h to ;e in!on"i"tent$
4 !orre!t hammer line will ;e almo"t impo""i;le to e"ta;li"h ;e!au"e o& the )arying amount o&
!ompre""ion o& the repetition "pring", e"pe!ially when tou!h )arie"$ 3epending on the &or!e o&
the ;low, the tou!h )arie" e)en more and the in!on"i"ten!ie" ;e!ome more pronoun!ed$
Remem;er, when the hammer return" to re"t, the load "hould ;e "hared eDually ;etween the top
o& the >a!+ and the top o& the repetition le)er$ Too mu!h lo"t motion will !au"e the "pring to
!ompre"" and &ri!tion will not allow the repetition le)er to return to the "ame po"ition e)ery time$
8ith all the "han+" rai"ed, ad>u"t the height o& the repetition le)er ;y rai"ing or lowering the
"!rew at the ;a!+ o& the le)er$ 1lightly li&t the tool when turning the "!rew "o that the !hange
;eing made i" not a&&e!ted ;y the &elt under the "!rew ;utton$ 6"e )ery "mall in!rement"$ The
>a!+ "hould ;e "et to ha)e no inter&eren!e a" it mo)e" &orward ;ut ha)e a )ery "light, almo"t
imper!epti;le ;ra+e on it" return under the +nu!+le >u"t a" it meet" the "poon$
CautionC 1ometime" the top o& the repetition le)er may ;e "lightly warped !au"ing the >a!+ to
;e lower on one "ide o& the repetition le)er than the other "ide$ 4lway" ad>u"t &rom the lower "ide
o& the le)er to gi)e the >a!+ ample !learan!e in it" &orward mo)ement$
1e)eral te"t" wor+ to !he!+ &or !orre!t pla!ement o& the >a!+C
#$ 8ith the hammer at re"t, lightly depre"" the >a!+ tender with your &inger$ Gou "hould "ee the
hammer drop "lightly$ Thi" ?win+@ "how" that the >a!+ ha" e"!aped the +nu!+le$
2$ 8ith the hammer" rai"ed, lightly run your &inger a!ro"" the top o& the >a!+ to the le)er$ Gou
"hould ;e a;le to &eel the !hange where the >a!+ "top" and the repetition le)er ;egin"$ The le)er
"hould ;e "lightly higher than the >a!+$
*$ 8ith it" neigh;or hammer rai"ed, put the hammer you are wor+ing on through let-o&& and
drop, ;ut hold it at it" drop po"ition$ 3epre"" the repetition le)er o& the neigh;or hammer
allowing you "ee the >a!+ you:re wor+ing on$ (oo+ing through the repetition le)er yo+e, )ery
"lowly relea"e the +ey and wat!h a" the >a!+ return" under the +nu!+le$ =t" return "hould ;e
"mooth, Dui!+ ;ut not >er+y, and !ome to re"t at it" original "tarting point$
3e)eloping a "en"iti)e tou!h i" an e""ential "+ill &or u" to learn and applie" )ery dire!tly to
"etting the >a!+$ 8e re!ommend u"ing all three te"t" until you are !ertain >a!+ height i" "et
!orre!tly, e"pe!ially E* a" a &inal one$ The"e en"ure that thi" ad>u"tment allow" !orre!t
e"!apement and return$ 1ometime" the >a!+ !an win+ ;ut the return will not ;e a "mooth and
e)en one$ The ?&eel the top o& the >a!+@ te"t !an ;e di&&i!ult to regulate e)enly until you:)e
gained mu!h eAperien!e$ 6"ing the la"t te"t gi)e" )i"ual and ta!tile a""uran!e that the height i"
"et !orre!tly$
4lthough thi" "erie" "pe!i&i!ally addre""e" !on!ert regulation and i" intended to help
learnJpra!ti!e tho"e "tep" &or the highe"t le)el o& regulation, let:" get real$ =n the ideal world, we
would ne)er ha)e to regulate with worn or in&erior part", and e"pe!ially with +nu!+le" that
"hould ;e repla!ed$ 1o what do we do when no alternati)e eAi"t" ;ut to regulate the ;e"t po""i;le
with what we ha)e, e)en in a !on!ert "ituation< 1imple, we do what we mu"t do$ 1ometime" we
>u"t ha)e to "et the >a!+ height "o that it wor+"$ 1ometime" that mean" we e)en might "et the >a!+
"o that it" height i" a!tually a;o)e the top o& the repetition le)er$ Fe)er lo"e "ight o& what we:re
trying to a!!ompli"hC ma+ing that piano per&orm to it" maAimum !apa!ity$ =& that mean" you
ha)e to &udge, do it with !ompeten!e and under"tandingN
Fow we will "et the hammer ;low, the di"tan!e &rom the top o& the hammer to the ;ottom o&
it" re"pe!ti)e "tring$ Thi" di"tan!e will almo"t alway" &all ;etween # *JK and # 0J2K e"pe!ially
&or !on!ert in"trument"$ The !orre!t ;low di"tan!e will ;e that whi!h allow" the mo"t power, the
&a"te"t repetition and the "moothe"t return$ The longer the di"tan!e, the more power you will
ha)e$ 8e re!ommend "etting "ample" with the maAimum ;low di"tan!e &ir"t$ Pui!+ly regulate a
"ample to "ee i& you !an a!hie)e let-o&&, drop, "pring and !he!+ing at thi" di"tan!e$ =t doe"n:t
ha)e to ;e pre!i"e, only that it will regulate$ =& you !an ma+e it wor+ at thi" di"tan!e, pro!eed$ =&
you !an:t, try a tad le""$ Continue de!rea"ing the ;low di"tan!e until you &ind the di"tan!e that
will allow you to regulate "ample"$ Remem;er to "et ;oth "harp and natural "ample" in ea!h
range$
'a)ing di&&erent ;low gauge", )arying &rom # *JK to # 0J2K, i" help&ul$ =n"ert the gauge &rom
the top o& the "tring" "o that the top o& the gauge i" le)el with the ;ottom o& the "tring$ 4d>u"t the
!ap"tan "o that the hammer tou!he" the ;ottom o& the gauge$ 1lide the gauge ;a!+ and &li!+ the
!ap"tan wren!h upward while "till in the !ap"tan$ 1lide the gauge &orward and re-mea"ure, re-
ad>u"t and repeat$ Thi" "hould in"ure "tati! &ri!tion or repetition "pring !ompre""ion i" not gi)ing
you an error$ Iea"ure e)ery "iA or "o note"$ Plate" and "tring line" are not alway" parallel to the
a!tion and there i" a di&&eren!e in the ;a"" a" the winding" get thi!+er$ =n the high tre;le, ;e "ure
to +eep the gauge in a )erti!al po"itionH otherwi"e error" may o!!ur$ 8ith "ome !apo ;ar" it i"
help&ul to turn the gauge at , degree"$ Be!au"e o& the di&&eren!e" in "tring height &rom "e!tion
to "e!tion, we "et "ample" &or ea!h "e!tion, u"ually the one" at ea!h end, ;ut ma+ing "ure that the
&inal guide" are natural"$
.n!e you are "ati"&ied with your "ample", "et the remainder o& the hammer line to tho"e
"ample"$ 8hile thi" will ;e the &ir"t ma>or hammer line, we a""ure you it !ertainly will not ;e the
&inal one$ Pull the a!tion &orward "o that the hammer" !lear the "tret!her$ =& you ha)e one o& tho"e
neat gadget" that "!rew" into the under"ide o& the +ey;ed and eAtend" outward a" a "upport &or
the &ront o& the a!tion, now i" a good time to get it out$ (=t:" !alled a %ey;ed 4!tion 1upport and
i" a)aila;le &rom 1purlo!+ 1pe!ialty Tool" or Pianote+$) =& not, ;alan!e the a!tion on your lap$
6"ing either the Taut (ine Regulation Guide or u"ing the "tret!her to eye;all it "et the hammer
line$ (FoteC 6"ing the T(RG &or thi" "etting gi)e" you a Dui!+, relia;le, )i"ual guide right at the
piano$)
8e:)e now "et >a!+-to-+nu!+le, height o& the repetition le)er to the >a!+, and hammer line$
Gli""ando all the +ey" in the "e!tion a !ouple o& time"$ 3id that hammer line remain "ta;le<
Pro;a;ly not$ =ne)ita;ility !hange o!!ur"$ 8hy< Be!au"e the"e three ad>u"tment" a!ti)ely
intera!t with ea!h other, it:" almo"t impo""i;le to regulate all three in one pa""$ =t de&initely
reDuire" !he!+ing them twi!e, "ometime" more$ ="olate tho"e hammer" that !hanged$ Re!he!+
>a!+-to-+nu!+le po"ition and repetition le)er height "in!e, more than li+ely, one o& the"e will
ha)e !au"ed the !hange in ;low di"tan!e$ Ia+e the ne!e""ary ad>u"tment"$ Gli""ando the "e!tion
again, read>u"t and repeatH gli""ando, read>u"t and repeat, until that hammer line "tay" put$
.n!e the hammer line i" &irmly "et, pull the a!tion toward you &ar enough "o that the
hammer" !lear the "tret!her$ Pui!+ly !he!+ that ea!h hammer will !he!+$ 4t thi" point we are not
"etting the height o& the ;a!+!he!+H >u"t in"uring that the hammer will go into !he!+$ =& any do
not, determine why and &iA it now$ 8e will addre"" the relation"hip o& the ;a!+!he!+ and the
repetition" "pring" later$
4" Cri"to&ori:" &ir"t piano, almo"t *00 year" ago, pro)ided &or what we today !all let-o&&$
(et:" try to under"tand what i" happening$ 4!tually, it:" not let-o&&H it:" really e"!apement, i$e$,
when the >a!+ &ully e"!ape" the +nu!+le allowing the hammer to "tri+e the "tring and return, "o
that it !an repeat the pro!e"" without li&ting the &inger o&& the +ey$ 1etting what we !all let-o&& at
it" ;e"t pla!e i" !ru!ial to allow the piani"t to u"e e)ery "hade o& tone and e)ery ;it o& power thi"
in"trument !an produ!e$
Chapter ,
(et-o&&
The &un!tion that ma+e" the grand piano uniDue i" it" !apa;ility o& dou;le e"!apement$ (et-
o&& i" the &ir"t o& the"e two e"!apement"$ 1imply put, let-o&& i" the point at whi!h the >a!+ i"
!ompletely &ree o& the +nu!+leH it i" indi!ated ;y the hammer not ri"ing to the "tring$ (et:"
)i"ualiBe what happen"$ The +ey i" depre""edH the !ap"tan rai"e" the >a!+H the >a!+ "lide" out &rom
under the +nu!+le$ The &or!e !reated through thi" mo)ement propel" the hammer toward the
"tring$ 8hen the >a!+ tender meet" the let-o&& ;utton, thi" energy !on)ert" &rom momentum to
ma"" thu" !reating the point o& let-o&&$ %ineti! energy then !ontinue" the mo)ement o& the
hammer to the "tring !au"ing the note to "ound$ 1o, what el"e do we need to +now a;out let-o&&<
7rom the mu"i!ian:" per"pe!ti)e, let-o&& mu"t ;e "et "o that the piani"t will ;e a;le to play
"o&t, loud and all the range" in ;etween$ =t mu"t ;e "et at the "ame di"tan!e &or ea!h note in the
"e!tionH otherwi"e, the tou!h will ;e une)en$ 4 good piani"t will &eel the "malle"t di&&eren!e" and
may )oi!e !on!ern$
The !onta!t ;etween the >a!+ and the +nu!+le "hould ;e a" long a" po""i;le ;ut
"imultaneou"ly a" "mooth a" po""i;le$ 8hy< Be!au"e the longer the >a!+ i" pu"hing the +nu!+le
upward, the more &or!e the "han+ will ha)e to propel the hammer to the "tring$ The more the
&or!e, the wider the range o& "ound$ The >a!+, howe)er, mu"t ;e "et to di"engage ;e&ore the
hammer rea!he" the "tringH otherwi"e, the hammer will ;lo!+ it"el& again"t the "tring and an
o;noAiou" "ound will ;e produ!ed$
ReminderC worn +nu!+le" will not only impede the pro!e"" ;ut will ma+e it almo"t
impo""i;le to regulate at !on!ert le)el$ The out-o&-round +nu!+le add" unwanted &ri!tion,
delaying it" &orward mo)ement and will almo"t alway" reDuire let-o&& to ;e "et too wide$ (et-o&&
that i" too wide !au"e" mo"t o& the !omplaint" a;out une)en tou!h$ =& it i" "et too &ar &rom the
"tring, the hammer e"!ape" too early not only de!rea"ing power, ;ut al"o ma+ing !ontrol o)er
"o&t playing more di&&i!ult and ma+ing it almo"t impo""i;le to a!hie)e a real piani""imo$
8e te!hni!ian" go through thi" regulation pro!e"" almo"t in "low motion with ea!h note &or
we mu"t &eel a" well a" o;"er)e )i"ually and aurally what happen" throughout the !y!le to
regulate it properly$ Piani"t" will ne)er play the +ey that "lowly ;e!au"e their o;>e!ti)e i" to
produ!e a mu"i!al "ound$ %eep in mind that the +ey i" the mo"t intimate intera!tion ;etween the
piani"t and the mu"i!$ The piani"t doe"n:t !are how we a!hie)e the regulationH the piani"t >u"t
want" it to ?;e e)en$@ 1o how do we ma+e it e)en<
Ba"i! reminder here, &ol+"$ 8hile mu!h o& what we are !o)ering in the"e arti!le" applie" to
grand regulation in general, our main &o!u" addre""e" !on!ert regulation$ =n mo"t !a"e" the
regulation pro!e"" in thi" area i" mu!h more "tringent and eAa!ting than in-home regulating
;e!au"e the piani"t:" eApe!tation" and need" o& the in"trument:" !apa;ility are mu!h more
demanding$ The primary rea"on we are "tre""ing the term piani""imo i" "imply that thi" i" the
mo"t di&&i!ult "ound &or the piani"t to a!hie)e$ 4lmo"t anyone !an ;ang out a loud &orte, ;ut
a!hie)ing a mu"i!al, ;eauti&ul ppp pa""age reDuire" all the "+ill the piani"t po""e""e" and e)ery
nuan!e the piano i" !apa;le o& produ!ing$ =t:" our >o; to ma+e that piano !apa;le o& produ!ing
thi" "ound the piani"t need"$ =& the piano !an produ!e thi" ppp, it !ertainly will produ!e any other
range wanted or needed$
(et:" re)iew how mo"t o& u" &ir"t learned to "et let-o&&C 4n ea"y and !lo"e-to-a!!urate method
o& "etting let-o&& wa" to u"e a let-o&& gauge, u"ually one (or more) that allow" &or mea"uring
#J*2K, #J#/K, and #J2K$ The rule o& thum; wa" to "et let-o&& at #J#/K to #J2K &or piano" in
!u"tomer:" home" and !lo"er to #J2K &or tho"e that would ;e "u;>e!ted to high humidity "wing"$
Thi" would u"ually pro)ide a ;uilt-in "a&ety &a!tor to pre)ent ;lo!+ing hammer"$ 7or
per&orman!e piano" the mea"urement wa" !lo"er, more to #J#/K to #J*2K &or thi" range in!rea"e"
power and !ontrol, e"pe!ially with a ppp ;low$
8e ad>u"ted e)ery "iA or "o hammer" to the gauge, "o the hammer >u"t "tarted to ;lo!+
again"t the gauge$ The gauge "hould ha)e ;een angled at , degree" under the "tring to en"ure
that it wa" not "lightly in &ront or to the rear o& the "tri+e point ("ee Photo #)$
The remainder o& the note" were "et ;y depre""ing the mea"ured note and it" ad>a!ent
neigh;or "imultaneou"ly and ad>u"ting &or identi!al let o&&$ 8hile thi" method got u" in the ;all
par+, it rarely, i& e)er, e)enly "et it a" !lo"e to the "tring without ;lo!+ing a" po""i;le$
1o, how do we "et thi" !riti!al "tep "o that it &eel" right and i" "et a" !lo"e a" po""i;le< Be&ore
we ;egin, let:" thin+ a;out why it i" e""ential to "et let-o&& in the piano$ Remem;er ;a!+ to the
&ir"t arti!le when we mated the +ey&rame to the +ey;ed< That pro!e"" "howed that not all
+ey;ed" are eDualH in &a!t, e)ery one i" di&&erent$ The"e di&&eren!e" ;e!ome o;)iou" when
you rea!h the &inite regulating pro!e""e"$ Thi" i" why ;en!h regulating will u"ually get you in the
;allpar+, ;ut when you put the a!tion ;a!+ into the piano it doe"n:t &un!tion at !on!ert le)el$
There:" no pla!e li+e the +ey;ed with the a!tion in it" !orre!t po"ition and !hee+ ;lo!+" in"talled
to "et let-o&& a" it "hould ;e "et$
The three ;a"i! tool" &or ad>u"ting let-o&& areC
#$ The "tandard !ap"tan tool$ Roger &a)or" the Renner tool &or it" thinner "pi+e and thi!+er non-
"lip handleH Gina pre&er" the Gamaha tool "in!e it wor+" "o well on almo"t all piano"$
2$ The regulating plier", ideal ;e!au"e you !an u"e them while loo+ing at the hammer" without
;ending down to rein"ert the tip$ They gra"p the dowel and allow you to !on!entrate on loo+ing
at the mo)ement o& the hammer rather than mo)ing ;a!+ and &orth to &ind the hole in the dowel$
*$ 1teinway-"tyle wren!h (al"o +nown a" the Ia"on-'amlin "!rew "tringer wren!h) whi!h,
o;)iou"ly, wor+" ;e"t on the regulating "!rew" li+e 1teinway u"e"$
1o, let:" pro!eed$ 8ith the a!tion in the piano turn the let-o&& dowelJ"!rew "o that the hammer
>u"t ;lo!+" again"t the "tringH then ;a!+ it o&& >u"t a ;it ("ee Photo 2)$ Play the note and li"ten &or
a !lear, ringing tone that i" not muted in any way and at the "ame time o;"er)e that let-o&& i" a"
!lo"e to the "tring a" it !an ;e without ;lo!+ing$ 'intC =t may ;e help&ul in ad>u"ting let-o&& i& you
pla!e your thum; under the ;ottom o& the +ey and ;lo!+ the +ey ;e&ore it !omplete" it" drop
!y!le$ Thi" will allow you to o;"er)e the point o& let-o&& mu!h ;etter$ =n the top damper "e!tion,
"ometime" it i" ea"ier to "ee i& you pla!e a mirror ;ehind the damper"$
FoteC 8hen let-o&& i" ;eing regulated, i& the point o& let-o&& !annot ;e "et e)enly and
"moothly (in other word" i& let-o&& "eem" to ;e >er+y), then "omething ha" ;een in!orre!tly "et
;e&ore now or el"e there i" a pro;lem within the wippen a""em;ly andJor the hammer "han+
a""em;ly$ Gou ha)e no !hoi!e ;ut to go ;a!+ward, &ind the pro;lem and &iA it$
6ntil one gain" eAperien!e at "etting let-o&& in the piano it may ;e &a"ter to "et "ample" and
do a )ery Dui!+ "etting out"ide the a!tion !a)ity$ 8ith the a!tion in the piano, "et "ample" in ea!h
"e!tion u"ing the &ir"t and la"t note" re"pe!ti)ely$ 6"ing the %ey;ed 4!tion 1upportR, pull the
a!tion out >u"t &ar enough that the hammer" !lear the "tret!her$ 1et up the T(RG at the let-o&&
point on ea!h "e!tionH "et let-o&& on ea!h note to the "ample"$ 4nother method i" to pull the a!tion
out &rom under the damper" "o that you !an "ee eAa!tly where the let-o&& point will ;e$ 8hen you
!omplete all "e!tion", put the a!tion ;a!+ into the piano$
=& you u"e either o& the"e out"ide-the-a!tion-!a)ity method", you mu"t "till re&ine ea!h note a"
"tated earlier with the a!tion in it" proper pla!e, properly "et$ 8ith a &irm, meBBo ;low, !are&ully
li"ten &or that !lear "ound$ Criti!ally o;"er)e that ea!h hammer !ome" a" !lo"e to the "tring a"
po""i;le ;ut doe" not ;lo!+$ Remem;er that ;e!au"e o& the larger diameter o& the ;a"" "tring" and
their wider phy"i!al mo)ement, thi" "e!tion will need more "pa!e$ Re-ad>u"t any that do not meet
the !riteria$
=& you were mea"uring, the range &or !on!ert regulation rarely will ;e more than ;etween
#J#/K and #J*2K and it may ;e e)en le"", depending on whi!h "e!tion you are regulating$ The
a!tual di"tan!e i" not the important &a!tor$ 8hat i" important i" to a!hie)e the maAimum range
thi" piano will allow and that mean" "etting the let-o&& a" !lo"e to the "tring a" po""i;le and a"
e)enly a" po""i;le throughout$ 4nd one &inal reminder, let-o&& !annot ;e "et in one pa""$ Gou
mu"t go o)er it again and may;e e)en a third time$ Better "a&e now than ha)e it ;ite you later$
E)en a&ter all thi", it will "till ;e ne!e""ary to !he!+ it one more time a&ter we regulate the
"pring" O guaranteed$ 3o you re!all that intera!ti)e "tu&&< Ju"t one more eAample$
Caution, remem;er that we tal+ed a;out the e&&e!t" o& humidity on regulating earlier in thi"
"erie"< (et-o&& too !an ;e a&&e!ted ;y humidity$ =n a dry !limate humidity pro;a;ly will not a&&e!t
thi" "etting$ 'owe)er, in a !limate where the humidity le)el" !an range &rom 20 per!ent to #00
per!ent relati)e humidity in one day, the po""i;ility o& minute "welling o& the &elt" !an and
pro;a;ly will a&&e!t the let-o&& di"tan!e$ 6nle"" you !an ;e at the piano and ;e a;le to te"t ea!h
note >u"t ;e&ore the !on!ert, ;e "ure to pro)ide a "a&ety &a!tor into thi" "etting$ 4llow enough
room "o that any "welling o& the &elt will not !au"e the hammer to ;lo!+ again"t the "tring or
impede the "ound ;y tou!hing it in any manner$
4t thi" point Dui!+ly !he!+ ea!h note again to "ee i& drop "till i" there$ 4gain, it doe" not
matter how mu!h, only that there i" "ome$ 3rop will ;e "et a!!urately later in the pro!e""$ Che!+
your hammer lineH ;y thi" time it pro;a;ly need" another pa"" "o "et it one more, ;ut "urely not
the la"t time$
Fow we will re&ine the dip that we roughed in a&ter we "et +ey height and le)el, natural" &ir"t
then "harp"$
8hat i" dip< =t i" the &ull di"tan!e the +ey tra)el" downward to the point it "top" on the &ront
rail pun!hing$ 8hat i" a&tertou!h< =t i" the amount that the +ey tra)el" a&ter the point o& let-o&& to
when the +ey ;ottom" out$ The"e two, dip and a&tertou!h, are not one and the "ame$ Ea!h ha" a
di&&erent &un!tion, ;ut ;oth are eDually important$ 3ip will ;e a&&e!ted ;y many &a!tor", e$g$,
length o& the "han+, height o& the >a!+, ar! o& the hammer$ 4&tertou!h i" a&&e!ted ;y dip$ To
a!hie)e !on!ert Duality you mu"t ;e a;le to ha)e the "ame relati)e pre""ure on all 22 note" and
all ha)e the "ame &eel o& a&tertou!h$ 3ip it"el& may not ;e the "ame on all note"H a&tertou!h mu"t
;e$
3ip i" one more o& tho"e mea"urement" that &all within a general range, u"ually around $00K,
gi)e or ta+e a &ew thou"andth" here or there$ .n a piano who"e ;low di"tan!e i" !lo"er to # *JK,
the dip will ;e !lo"er to $*00K to $*20KH on one who"e ;low di"tan!e i" !lo"er to # 0J2K, the dip
will ;e around $*50K to $#,K$ %eep in mind that too "hallow +ey dip re"ult" in lo"t power a" it
limit" the amount o& thru"tH too deep dip re"ult" in redu!ed repetition and per&orman!e "in!e it
in!rea"e" the length o& time &or the !y!le to !omplete$ 4" a general rule o& thum; the longer the
;low di"tan!e, the "maller the amount o& a&tertou!h needed$
3ip i" "et ;y limiting the downward motion o& the +ey ;y pla!ing pun!hing" under the &ront
o& the +ey$ Thi" i" one time we do u"e a "pe!i&i! mea"urementH it i" the mea"urement o& whate)er
dip ;lo!+ turn" out to ma+e the pro!e"" wor+ properly$ 1ometime" u"ing a ;lo!+ o& a di&&erent
depth help"$ 3ip ;lo!+" are a)aila;le in di&&erent depth" and it may e)en ;e help&ul to add a
!ard;oard pun!hing to the ;ottom o& one &or mea"uring the amount o& depth de"ired$ Te"t to "ee
whi!h wor+" ;e"t$ 6"ing the dip ;lo!+ get" u" in the ;all par+ range ;ut doe"n:t re&ine the
pro!e"" !ompletely$
4ddre""ing the natural" &ir"t, te"t two or three "ample note"$ Remem;er that we originally
roughed-in dip in the general )i!inity o& $00K$ =mmediately te"t the"e note" to "ee i& let-o&&,
!he!+ing and "ome a&tertou!h are pre"ent$ (3on:t worry a;out the height o& the !he!+ing at thi"
timeH thi", too, will ;e re&ined later in the pro!e""$) =& the"e aren:t, add or "u;tra!t pun!hing" until
the"e three are pre"ent$
8hen the"e "ample" wor+ and &eel !orre!t, pro!eed "etting the re"t o& the natural" at the "ame
depth o& the "ample", u"ing the dip ;lo!+ that wor+ed to "et them$ Remem;er to pla!e the dip
;lo!+ in eAa!tly the "ame po"ition on the +ey$ =t ta+e" "ome pra!ti!e, ;ut, holding your thum; on
the +ey lip, depre"" the dip ;lo!+ and +ey "imultaneou"ly with your indeA &inger, ta+ing !are not
to o)erly !ompre"" the &ront rail pun!hing"$ Ia+e "ure you +eep the ;lo!+ &orward and again"t
your thum;$ Che!+ the le)el ;y "liding your &inger a!ro"" the ;lo!+ and it" ad>a!ent natural$ Be
!on"i"tent with the amount o& tou!hH a &irm ;ut not too hea)y tou!h wor+" ;e"t ("ee Photo *)$
4dd or "u;tra!t pun!hing" a" needed &or a !on"i"tent depth$ (3o we need to remind you to pla!e
the paperJ!ard;oard pun!hing" under the &elt one"<)
FeAt i" where the a!ute re&inement ta+e" pla!e$ Play ea!h note with the "ame tou!h, not too
hard nor too "o&t$ (i"ten to the "ound ea!h note ma+e", then dupli!ate that "ound &or e)ery note$
8e:re not tal+ing a;out )oi!ing at thi" pointH >u"t that the "ound, "pe!i&i!ally it" loudne"", ;e
produ!ed !on"i"tently a!ro"" the +ey;oard$ 4dd or "u;tra!t pun!hing" a" needed$
Be!au"e &inal "harp +ey dip i" "et ;y !omparing the a&tertou!h o& the ad>a!ent natural" and
dupli!ating it on the "harp", we need to !he!+ &or a&tertou!h now$ The amount o& a&tertou!h will
)ary &rom piano to piano, ;ut it i" u"ually within #J#/K to *J/K$ There are ;a"i!ally two way" to
ad>u"t a&tertou!hC
#$ By !hanging the amount o& +ey dip$
2$ By !hanging the ;low di"tan!e$
'ow important i" a&tertou!h< Roger tell" the "tory o& a !on!ert arti"t who wa" in hi" "tore to
"ele!t one o& two !on!ert grand"$ 1he pre&erred the "ound o& one, ;ut the &eel o& another$ The one
"he wanted wa" the one with the tone that "he li+ed, ;ut it &elt ?"loppy$@ 8hen he !he!+ed the
regulation Roger &ound that there wa" $000K di&&eren!e in dip ;etween the two$ 4&ter he added a
pin+ pun!hing to the ?"loppy, ;ut ;eauti&ul tone@ one, tou!hed up the ;a!+!he!+", and ad>u"ted
the a&tertou!h &rom the de!rea"e in dip, he had her play it again$ 1he then delightedly !ho"e the
one who"e tonal Dualitie" "he pre&erred$ Con"i"ten!y in tou!h i" all important &or it allow" the
piani"t to !on!entrate on ma+ing mu"i!, not &ight with an une)en a!tion$
Be&ore "etting "harp dip, >u"t a" wa" done with the natural" te"t two or three "ample "harp" to
en"ure let-o&&, !he!+ing and "ome a&tertou!h are pre"ent$ 8hile the ;a!+!he!+ height i" not "et at
thi" time, now i" a good time &or a &a"t te"t o& all the ;a!+!he!+"$ =& any are unu"ually low or
high now, in)e"tigate why and &iA$
%ey dip on the "harp" i" "et the "ame a" the natural", ;y adding or remo)ing pun!hing"$ 4"
with the natural", "harp +ey dip wa" ;a"i!ally e"ta;li"hed a&ter we le)eled the +ey"$ 4t thi" point
we are on!e again re&ining what we "et pre)iou"ly$ The !ontrolling &a!tor i" to en"ure that the
"harp +ey doe" not ;ury it"el& when played again"t a natural$ 4 Dui!+ !he!+ i" to pla!e a ni!+el
on an ad>a!ent natural, depre"" the "harp$ 8hen &ully depre""ed, the "harp "hould ;e "lightly
a;o)e the ni!+el or e)en a "midgen more, ;ut de&initely not ;uried ;elow the natural ("ee 7igure
#)$ 8e !annot "tre"" "trongly enough that the thi!+ne"" o& the ni!+el !ompared again"t &irmly
depre""ing the "harp i" the minimum reDuirement o& depth$ 4nti!ipate the mo"t )igorou" playingH
"et the depth to en"ure no po""i;ility that repeated &irm ;low" will !ompre"" the pun!hing" and
!au"e the "harp to ;ury$ =t may e)en ;e ne!e""ary to re-ad>u"t the "harp height to pro)ide that
"a&ety &a!tor$
8ith "harp +ey dip, the !ompre""ion o& the &elt pun!hing" may ha)e more impa!t on "etting
a&tertou!h than it doe" on the natural" "imply ;e!au"e o& the di&&eren!e in the width o& the +ey$
1in!e the width o& the "harp +ey i" narrower than the &elt pun!hing, it tend" to !ompre"" the
pun!hing une)enly$ 8hen paper pun!hing" are added or "u;tra!ted, thi" gi)e" the added &a!tor o&
"lightly altering the original po"ition o& the pun!hing$ Thi" mo)ement !ould !reate an une)en
!onta!t with the ;ottom o& the +ey$ Either andJor ;oth o& the"e !an ad)er"ely impa!t a&tertou!h$
Remem;er that we are dealing in the $000K range$ 4 "imple, pre!autionary method i" to turn the
&elt pun!hing o)er and u"e the other "ide a" a ni!e, &lat, &re"h "ur&a!e &rom whi!h to wor+$
.n!e depth i" e"ta;li"hed, "et a&tertou!h to !lo"ely eDuate that o& the natural"$ 1lowly depre""
the "harp and &eel the amount o& a&tertou!h ;etween it and the ad>a!ent natural$ 3upli!ate thi"
"ame &eel ;y adding or "u;tra!ting pun!hing" to a!hie)e the "ame amount o& a&tertou!h on the
"harp" a" with the natural"$ 4t thi" point, it i" a good idea to regulate !ompletely &our or &i)e
note" in ea!h "e!tion, middle, top tre;le and ;a""$ 1ort o& in"uran!e to ma+e "ure all i" well$
'a)e you noti!ed how &reDuently we are alternating ;etween one "tep and another<
Beginning with let-o&& and !ontinuing until the regulation i" &ini"hed, the intera!ti)e relation"hip"
e&&e!t the pro!e"" the mo"t$ 8hen you ad>u"t one thing, it a&&e!t" another$ That:" why it i" "o
ne!e""ary to !he!+ and re!he!+$ Iore importantly, it "how" that a true, !on!ert-le)el regulation
!an only ;e a!hie)ed ;y the"e ;a!+ and &orth in"pe!tion" and ad>u"tment"$
Chapter /
Tou!hweight
=n &ine per&orman!e regulation we "tri)e &or !he!+ing a" !lo"e to the "tring a" po""i;le on a
ppp ;low and "imultaneou"ly ha)e the repetition "pring "et "trong enough to attain the &a"te"t
repetition po""i;le$ Corre!t ad>u"tment o& the repetition "pring and !orre!t ;a!+!he!+ing !an ;e
one o& the mo"t intera!ti)e and, "eemingly, mo"t !ompleA ad>u"tment" in the regulation pro!e""$
'ow !an we ;e on our toe", identi&y where pro;lem" lie, "eparate the !au"e" and !orre!t them<
8e will not go into an in-depth di"!u""ion o& tou!hweight and geometry, "in!e it ha" ;een
!o)ered ;y other"H we re!ommend that reader" ma+e a !are&ul "tudy o& the "u;>e!t a" a
!omplement to our "erie"$ 8e ;elie)e thi" awarene"" will greatly add to your ar"enal o&
diagno"ti! tool"$
Two area" o& tou!hweight analy"i" that !an ;e u"ed a" diagno"ti! tool" &or &a"t
trou;le"hooting are hammer weight and the downweightJupweight "pread$ 8ithout getting into
"pe!i&i! detail", a &ew )ery general rule" o& thum; may help "eparate regulation pro;lem" &rom
a!tion geometryJtou!hweight pro;lem"$
#$ E)ery gram o& hammer ma"" remo)ed will produ!e a redu!tion o& around &our to &i)e gram"
at the +ey &ront$
2$ 8hen the upweight &all" mu!h ;elow ,0 per!ent o& the downweight, the a!tion will not &eel
a" re"pon"i)e$ (Be on your guard a" thi" will mo"t li+ely ;e a &ri!tion pro;lem$)
*$ 8eight o)er #2 gram" &or the E# ;a"" hammer !an ;e a good indi!ator o& po""i;le pro;lem"
not related to the regulation$ 4!tual indi)idual hammer weight (when the hammer i" "eparate
&rom the "han+) o& o)er #0 gram" i" a good indi!ator &or &urther in)e"tigation$
8hen the"e &ollowing !ondition" eAi"t, &ine regulation ;e!ome" all ;ut impo""i;le to a!hie)eC
#$ EA!e""i)e hammer ma""$
2$ 'ammer tail" not at 50 degree" to the hammer "han+$
*$ Tail ar! and length in!orre!t$
$ Ba!+!he!+ ra+e and height in!orre!t$
To diagno"e and "ol)e the"e pro;lem", you will need "ome or all o& the &ollowing tool"$
#$ 4 "et o& gram weight" to mea"ure ?down@ and ?up@ tou!hweight"$ Thi" i" u"e&ul to determine
&ri!tion pro;lem"$ 3on:t !on&u"e thi" with your earlier !he!+" (+ey ea"ing, et!$)$
2$ 4 hammer tailing >ig ("ee Photo #) &or two u"e"C a$) &or ma"" remo)al and ;$) &or impro)ing
!he!+ing geometry$ (Bill 1purlo!+:" i" highly re!ommended$)
*$ 4 hammer tapering >ig ("ee Photo 2)$ (4gain, Bill 1purlo!+ ha" a rea"ona;ly pri!ed one$)
$ 4 #00-gram digital "!ale$
1top a moment and thin+C 8hat we are trying to a!hie)e with !he!+ing< 8e are trying to
"top the hammer a" high and a" po"iti)ely a" po""i;le, thu" allowing the upward motion o& the
repetition le)er to &ree the >a!+ "o it !an re"et a" Dui!+ly a" po""i;le &or another !y!le$ To a!hie)e
thi", we trap the hammer:" wooden tail with a pie!e o& padded leather$ =& the hammer tail i"
parallel with the !enter pin o& the hammer &lange, the tail trap" with the greate"t e&&i!ien!y$ =& the
tail i" angled, it ha" a tenden!y to "lide a!ro"" the ;a!+!he!+ "in!e it i" not ;eing trapped &irmly
toward" the !enter pin$ =n turn, "ide pre""ure will !reate eA!e""i)e wear on the !enter pin
;u"hing$ .)er time, the re"ulting loo"e pinning will add to the pro;lem o& in!on"i"tent !he!+ing$
3id we mention intera!tion< 8hen !he!+ing at ppp, you may noti!e "ome hammer" >umping
a little higher than other"$ Remem;er how earlier in thi" "erie" we "tre""ed !enter pinning< 8ell,
here i" an ea"y !he!+ &or any you may ha)e mi""ed$ 'ammer" that want to tra)el higher may
ha)e le"" &ri!tion on the !enter pin"$ 8hile thi" !ould al"o ;e the re"ult o& une)enne"" o& drop,
une)enne"" o& let-o&& andJor une)enne"" o& "pring ten"ion, now i" a good time to re!he!+ the
!enter pin &ri!tion$ Repin i& ne!e""ary$ =t won:t ta+e long to learn how to identi&y what mu"t ;e
!orre!ted how$ Pra!ti!e will gi)e you the eAperien!e to +now what you !an li)e with$
(et:" loo+ at three normal operation" that !an alter the weight o& the hammerC
#$ Co)ing, a method o& weight redu!tion done on the in"ide o& hammer tail" ;elow the hammer
"han+" ("ee 7igure #)$
2$ TailingJtapering, an operation to remo)e eA!e"" wood andJor &elt &rom the "ide" o& the tail
and hammer in order to impro)e !learan!e" and redu!e weight ("ee 7igure 2)$
*$ 4r!ing, the "haping o& hammer tail" to a gi)en radiu" to promote good ;a!+!he!+ing ("ee
7igure *)$
The tail "hould ha)e an ar! &rom the ;ore to the ;ottom o& the tail o& approAimately hal& the
radiu" o& the !enter pin to tail radiu"$ 4 good rule o& thum; i" 2 #J2K$ The tail length ;elow the
;ore "hould ;e no longer than l@$ =deal tail ar!ing i" a;out #J2 the radiu" o& the !enter pin to the
rear o& the molding$ 'ammer" on mo"t piano" &all in the ,K to , #JK range, "o tailing ;etween 2
#J2K and 2 ,J2K radiu" will wor+ )ery well$ To !he!+ thi" parameter, u"e a pair o& !ompa""e" and
"et them at 2 #J2K$ 1et the pen!il lead at the tail ad>a!ent to the ;ore and the point into the !enter
line o& the hammer "han+$ 1!ri;e a radiu" on the molding and !he!+ the "hape o& the tailing$
Corre!t i& reDuired ("ee Photo *)$
FeAt, let:" mo)e to ;a!+!he!+ height and ra+e$ Ra+e "hould ;e approAimately 22 degree"
(&rom )erti!al)$ =t "hould ;e "et "o that the hammer tail ha" ample !learan!e a" you "lowly
depre"" the +ey$ 4t no point "hould di"tan!e ;etween the ;a!+!he!+ and the tail o& the hammer
;e le"" than approAimately #J#/K &rom the !he!+ or the tail may !lip the ;a!+!he!+ on it" way
upward on a &orte ;low ("ee 7igure )$ Remem;er, thi" al"o depend" on hammer weight, "trength
and &leAi;ility o& "han+, ar! o& tail and angle o& ;a!+!he!+$ 4ny one o& the"e !an !hange the
parameter"H that:" what ma+e" it intera!ti)e$
7ir"t Dui!+ !he!+C (oo+ along the ;a!+!he!+ line and !hal+ mar+ any o;)iou"ly low, high or
;adly ra+ed !he!+"$ =& the !he!+ i" too low (u"ing a pair o& 9i"e Grip"R and a "mall ;lo!+ o&
wood), grip the ;a!+!he!+ wire with the )i!e grip" and u"ing the wood ;lo!+ a" a &ul!rum, le)er
the wire upward$ =& the ;a!+!he!+ i" the "!rew type, twi"t upward$
=& the ;a!+!he!+ i" too high, gently tap the top o& the ;a!+!he!+ down u"ing a "!rap pie!e o&
wood and a hammer$ .r, i& it i" the "!rew-ad>u"ting type, turn it down until it i" le)el with it"
neigh;or"$ Remem;er to gi)e the ;a!+ o& the +ey &irm "upport$
.;)iou"ly, ;adly ra+ed !he!+" "hould ;e !orre!ted "o that they align with their neigh;or"$ =&
the note "till doe"n:t !he!+ properly a&ter alignment i" !orre!ted, it:" pro;a;ly an ar!ing or
regulation pro;lem$
Corre!tly ar!ed and ra+ed, the hammer tail "hould now "lide into the upper ;ul;ou" !u"hion
part o& the ;a!+!he!+ to gi)e po"iti)e, high, ppp !he!+ing$ Thi" ;eing done, it will ;e ea"y to
o;tain !orre!t and !on"i"tent !he!+ing di"tan!e later in the regulation pro!edure$
6"ing the a;o)e in&ormation &or analy"i", let:" try "ome hypotheti!al "ituation"C
%cenario &1" 'ammer tail": ar!ed "ur&a!e" are a;out #, degree" o&& &rom the ideal o& 50 degree"
to the hammer "han+$ The ;a!+!he!+" ha)e all ;een angled to mate with the tail", ;ut !he!+ing i"
in!on"i"tent$
1olutionC Re-ar! the hammer tail", realign and re"et the ra+e o& the ;a!+!he!+", re"et the "pring
ten"ion$ Thi" will impro)e the !he!+ing !apa;ilitie" Duite dramati!ally$ The ma"" remo)al may
ha)e !au"ed the repetition "pring" to ;e!ome too "trong in relation to the new hammer weight$
Io"t piano ;rand" that we +now o& with the"e produ!tionJde"ign pro;lem" "eem to ha)e hea)y-
tou!h pro;lem" a" well, "o thi" treatment a!tually addre""e" two ;ird" with one "tone$ 1ee how
intera!ti)e<
%cenario &'" 4!tion i" )ery hea)y, with downweight in the /0-gram-plu" range$ 4lthough there
!an ;e many !au"e" &or thi" malady, one o& the mo"t !ommon i" eA!e""i)e hammer ma""$ 8ith
untapered and poorly tailed hammer", it i" not un!ommon to ;e a;le to redu!e the hammer ma""
;y a" mu!h a" #$, gram" re"ulting in a" mu!h a" a redu!tion o& 0$, gram" at the +ey tip$
EA!e""i)e ma"" ma+e" ;a!+!he!+ing di&&i!ult and ne!e""itate" high "pring ten"ion to rai"e the
hammer out o& !he!+$ Thi" in turn lead" to a ?>umpy@ andJor non-re"pon"i)e &eel to the a!tion$
To )eri&y, remo)e "ome "ample hammer" and mea"ure the "tri+e weight$ Propping the
hammer up on the end o& the &lange a" "hown ("ee 7igure ,) and mea"uring the weight at the tail
!an ma+e an approAimation o& 3a)id 1tanwood:" te!hniDue$ Bear in mind that you are adding
!enter-pin &ri!tion$ 4nything o)er #* gram" will need &urther in)e"tigation$ Thi" i" a Dui!+
trou;le"hooting te!hniDue and i" not to ;e !on&u"ed with a de&initi)e part o& tou!hweight
analy"i"$ =mportantC ma+e "ure that the &lange !enter pin &ri!tion i" within that manu&a!turer:"
"pe!i&i!ation"$
=& hea)ier hammer" are u"ed, lightly !he!+er the ;a"" hammer" with no more than one ,-
degree pa"" o& a !oar"e &ile o)er the lower part o& the tail$ Che!+ering &rom the tenor upward i"
neither needed nor de"ira;le, a" it will only in!rea"e wear$
1olutionC Taper the hammer &rom a;out #J2K to #JK ;eneath the "tri+e point, and taper the "ide"
&rom #0 mm ;a!+ to , mm$ Remo)ing &elt will gi)e the greate"t amount o& ma"" redu!tion$ Fote
that the tapering >ig will get the >o; done with the "han+" in"talled ("ee photo Q)$
8ith the hammer line "et, the height o& the !he!+ and the !enter line o& the "han+ "hould
align at approAimately the top third o& the ;a!+!he!+ at re"t ("ee 7igure /)$ 4ll the ;a!+!he!+"
"hould line up li+e toy "oldier"$ Thi" alignment rein&or!e" the intera!ti)e nature o& all the
regulation parameter"$
FeAt, with the hammer line "et and with "han+ !learan!e on the re"t &elt, lightly tap down on
the hammer$ The ra+e "hould ;e "et "o that the hammer tail ha" ample !learan!e a" you "lowly
depre"" the +ey$ 4gain, at no point "hould it ;e le"" than approAimately #J#/K &rom the !he!+$
Ta+ing the"e eAtra moment" to eAamine the "ituation ;e&ore you attempt to regulate
;a!+!he!+" and "pring ten"ion may ma+e that "eemingly !ompleA portion a little le"" "o$
4dditionally, thi" gi)e" another opportunity to !he!+ your wor+C !he!+ &or e)en &ri!tion,
!on"i"tent !enter pinning, a!!urate ar!ing, !on"i"tent +ey dip and a&tertou!h$
Chapter 0
1pring"
The relation"hip ;etween the repetition "pring ten"ion and the ;a!+!he!+ i" one o& the mo"t
intera!ti)e o& all$ 4 !hange in one will mo"t li+ely a&&e!t the other$
8hat doe" the repetition "pring a!tually do< =t "upport" the +nu!+le, allowing the >a!+ to
return a" &a"t a" po""i;le, there;y ena;ling &a"t repetition$ (8e are a""uming the ;utter&ly "pring
"tyle at thi" timeH other type" o& repetition "pring" are addre""ed later in thi" arti!le$)
The dire!tion o& !ompre""ion on the "pring !oil dire!t" the &or!e$ The ten"ion in the !oil
determine" the amount o& &or!e, "o i& the !oil i" opened, more ten"ion i" "tored$ 4d>u"tment o& the
!oil ad>u"t" ;oth arm" o& "pring$ The "pring need" to "lide along the "pring "lot in the repetition
le)er with a" little &ri!tion a" po""i;le$ Too "teep an angle may ;ind, !au"ing a >umpy &eel$ =&
"pring ten"ion i"n:t "mooth, drop lag"$
1idenoteC 8hile !he!+ing drop earlier in the regulating pro!e"", i& the Duality o& drop "eemed
"low or unre"pon"i)e, it pro;a;ly wa" due to "ome pro;lem within the repetition "pring it"el&C it
wa" gun+y or ;ent, or had too mu!h or too little ten"ion$ =t i" po""i;le to ha)e !orre!t ten"ion &or
the !orre!t ri"e, ;ut drop "till may not ;e "mooth ;e!au"e o& eA!e"" &ri!tion in the "pring "lot$ The
a""i"tan!e o& the >a!+ in the let-o&& pro!e"" may ma"+ a repetition "pring inadeDua!y$ Corre!ting
tho"e pro;lem" now will ma+e the &inal ad>u"tment o& the drop a whole lot ea"ier$
The repetition "pring will not &un!tion !orre!tly i& there i" a pro;lem in any o& "e)eral area"C
;inding at the !oil, eA!e""i)e &ri!tion in the "pring "lot or poor !enter pin Duality at either the
repetition le)er po"t or the hammer &lange !enter$ =& in!orre!t &ri!tion eAi"t" in the "pring, the
repetition le)er will not alway" return to the "ame po"itionH hen!e the hammer line will ;e!ome
une)en$
Remem;er that in an earlier arti!le we made the "tatement that an une)en hammer line wa" a
"ymptom and not the !au"e o& pro;lem"$ =n our opinion, an in!orre!tly ten"ioned repetition
"pring i" one o& the mo"t !ommon !au"e" o& un"ta;le hammerline"$ 4ddre""ing the "pring "lot i"
)ery o&ten o)erloo+ed and "ometime" e)en negle!ted during "er)i!e$ 8hen the pro;lem i"
hidden within the "lot, the "olution i" too o&ten "ought ;y in!rea"ing the ten"ion on the "pring$
Thu", the pro;lem ;e!ome" wor"e rather than &iAed$
8hen wor+ing with repetition le)er "pring", remem;erC "pring ten"ion i" ad>u"ted only ;y
opening or !lo"ing the ten"ion o& the !oil$ =t "hould not ;e ad>u"ted ;y ;ending the arm o& the
"pring$ 8hen the "pring" are !orre!tly ten"ioned, all "hould line up li+e toy "oldier", right
"traight in a row$ 8hen "etting ten"ion on the "pring, thin+ how a "a&ety pin wor+"C with the
"a&ety pin opened, "preading it apart ma+e" it "trongerH pre""ing it together ma+e" it wea+er$ Thi"
i" the ;a"i! prin!iple o& how the repetition le)er "pring wor+"$
Be&ore "tarting any ad>u"tment", loo+ down through the wippen a""em;lie" and ma+e "ure all
the "pring" line up e)enly$ =& any are ;ent out o& alignment, eAamine and determine what i"
wrong$ 6"ually the !au"e will ;e that "ome pre)iou" te!h ;ent the "pring in!orre!tly$ =& that i" the
!a"e, ;end it ;a!+ to mat!h the re"t$ 1ometime" you may ha)e to wor+ ;oth "ide" o& the "pring to
ma+e the !orre!t alignment$ 4&ter all are !orre!tly aligned re-!he!+ the win+ing o& the >a!+ &or
!orre!t >a!+ alignment$
6nhoo+ "e)eral "pring" in ea!h "e!tion and !he!+ &or !leanline"" o& the !ur)ed end that "it"
in the repetition "pring "lot$ =& )erdigri" or hard grea"y graphite i" pre"ent, repetition "peed will
de&initely ;e ad)er"ely a&&e!ted "in!e thi" gun+ in!rea"e" &ri!tion in thi" area$ Thi" i" one area
where we !an "a&ely "ay that &ri!tion i" unde"ira;le$ Clean ;oth the "lot and the end o& the "pring$
To !lean the "lot", u"e a )erti!al hammer "han+ "harpened to a point and ;urni"h the "lot until
all the old material i" remo)ed ("ee 7igure #)$ The "lot !an now ;e lu;ri!ated with a E2 pen!il
lead or a light !oat o& Prote+ IP(-#R$ Clean the end o& the "pring with naphtha or with the
white 1!ot!h BriteR pad"$ 4n alternate tool &or !leaning the "lot i" a ru;;er mute handle with a
hoo+ on the end, with the end dulled appropriately, to !lean out the gun+$
Cleaning the "lot" and "pring" will gi)e the appearan!e o& in!rea"ed "pring ten"ion, ;ut
remem;er the ten"ion wa" alway" there$ (ot" o& energy wa" "tored there that >u"t !ouldn:t get
out$ =t wa" ;eing wa"ted o)er!oming the &ri!tion &rom the gun+ in"ide the "pring "lot$
Fow !he!+ &or "pring "trength$ Play the +ey with a meBBo-&orte ;low and allow the hammer
to go into !he!+$ 1lowly relea"e the +ey$ The hammer "hould ri"e away &rom the ;a!+!he!+
toward the "tring" until the drop "!rew "top" the ri"e o& the repetition le)er$ Thi" motion "hould
;e a "mooth, "teady ri"e$ =& the mo)ement i" too &a"t or i" >umpy, the "pring ha" too mu!h
ten"ion$ =& hammer ri"e i" )ery "low or almo"t non-eAi"tent, not enough ten"ion i" pre"ent$
To in!rea"e ten"ion u"e your "pring tool to di"engage the "pring &rom the "lot and pull it to
the "ide "o that it i" &ree &rom the repetition le)er ("ee 7igure 2)$ Pla!e the hoo+ o& your "pring
tool in the ar! at the tip o& the "pring$ Gently pull the "pring upward "o that you are gently
unwinding the !oil o& the "pring$ 1lide the "pring ;a!+ into it" "lot and te"t the ri"e$
To ea"e "pring ten"ion u"e your "pring tool in the !enter o& the !ur)ed part o& the upper
portion o& the "pring and gently pu"h downward ("ee 7igure *)$ Thi" will ha)e the e&&e!t o&
tightening the !oil and redu!ing the amount o& %eep te"ting and &leAing the "pring until you end
up with the de"ired li&t$ Thi" i" another o& tho"e time" when one pa"" doe"n:t get the >o; done$ Be
patient and per"i"tent$ Be!oming pro&i!ient at thi" operation ta+e" "ome pra!ti!eH we !all it
paying your due"$ 4&ter the ten"ion o& the "pring" i" "et !orre!tly, go ;a!+ and win+ the >a!+"$
Thi" will ;e a !he!+ to ma+e "ure the >a!+ po"ition wa" not mi"aligned ;e!au"e "pring ten"ion
wa" in!orre!t$
3ealing with the Renner ;utter&ly "tyle "pring with the additional "pring ten"ion "et-"!rew i"
)ery "imilar ("ee 7igure )$ Thi" "tyle wippen doe" not ha)e a "pring "lot$ Rather, the ;ottom o&
the ten"ion "et-"!rew (on the under"ide o& the repetition le)er) i" &a"tened onto a Te&lonR !ollar$
The "pring i" atta!hed to the under"ide o& thi" Te&lonR !ollar$ (Few wippen a""em;lie" o& thi"
type are not pre-regulated and u"ually ha)e too mu!h rather than not enough "pring ten"ion$)
Be&ore ma+ing any ad>u"tment to the ten"ion "et-"!rew, ad>u"t the "pring !oil a" a;o)e "o that
ri"e i" "mooth and e)en &or rea"ona;le operation$ 4&ter the"e "tep" ha)e ;een !ompleted, the
ten"ion "et-"!rew ad>u"tment !an ;e utiliBed to a!hie)e )ery re&ined "pring regulation$
Baldwin-manu&a!tured wippen" are a little di&&erent, a "ingle "pring with two !oil" ("ee
7igure ,)$ The !oil that i" )i"i;le &rom the "ide o& the wippen will alter >a!+ ten"ion and "hould
ha)e ;een ad>u"ted when win+ing the >a!+"$ (1o we are human and &orgot to tell you earlier O
;etter late than ne)er$) To ad>u"t the >a!+ ten"ion, li&t the "pring out o& the >a!+ "lot and )ery
gently open up the !oil$ Thi" will in!rea"e >a!+ ten"ion$ The repetition "pring i" then ad>u"ted
with the ten"ion "et-"!rew$
The 1!hwander-"tyle (lower "traight "pring, rear "!rew ad>u"tment) wippen wor+" a little
di&&erently than other" in that the "pring i" atta!hed to the >a!+ with a !ord loop ("ee 7igure /)$
4" the wippen i" !ompre""ed and the >a!+ i" mo)ing &orward the >a!+ and the tail o& the
repetition le)er are mo)ing away &rom ea!h other, there;y in!rea"ing the ten"ion &or a &a"ter
return o& the >a!+$ .ne ad)antage o& thi" "tyle o& a""em;ly i" that the "pring &ri!tion i" a non-
i""ue$
The "ame rule" apply to the two-"pring 1!hwander-"tyle a!tion"$ The "pring ten"ion i"
deri)ed &rom the !oilH opening and !lo"ing the !oil i" how the ad>u"tment i" made$ 7ine
ad>u"tment i" made with the ten"ion "et-"!rew$
=n the %na;eJChi!+ering two-"pring type ;oth "pring" are atta!hed to the wippen with !ord loop"
("ee 7igure 0)$ Both the >a!+ "pring and the repetition "pring are ad>u"ted ;y opening and !lo"ing
the !oil$ 'owe)er, the repetition "pring u"ually ha" a "et-"!rew &or &ine ad>u"tment$
CautionC =n all !a"e" where the repetition le)er ha" a ten"ion "et-"!rew alway" remem;er that
the "pring it"el& i" the important thing$ 3o not rely on the ten"ion "et-"!rew a" the only way to
ad>u"t "pring ten"ion$
Fow that we ha)e the "pring" regulated, good hammer tail geometry, ;a!+!he!+ ra+e "et, and
the ;a!+!he!+" in !lo"e regulation, it:" time to re-!he!+ the ;a!+!he!+ing with the newly
regulated "pring"$ 'owe)er, "in!e the "pring ten"ion ha" ;een altered, the hammerline i"
pro;a;ly une)en again$ Re"et the hammerline one more time$ Thi" will ;e the la"t time the
hammerline mu"t ;e ad>u"ted &or thi" regulation pro!e""$
8ith the "ame pre""ure on ea!h +ey, play &our natural" with one hand and &our ad>a!ent
"harp" with the other$ =& repetition le)er "pring ten"ion and the ;a!+!he!+" ha)e all ;een "et
!orre!tly, the hammer" "hould all !he!+ at the "ame height$ Remem;er, they "hould !he!+ a"
high a" po""i;le$ =& any do not, ;end the ;a!+!he!+ wire in or out with your &inger depending on
what i" needed$ 4" a &inal !he!+, put the a!tion ;a!+ in the piano and re-!he!+$ 4d>u"t any that
don:t !he!+ at the "ame height$
Chapter 2
3rop and 4&tertou!h
1e)eral !hapter" ago we noted that the a"pe!t that ma+e" the grand piano uniDue i" it"
!apa!ity o& dou;le e"!apement$ The &ir"t o& the"e i" let-o&&H the "e!ond i" drop$ Be&ore "etting the
drop, let:" thin+ through what i" happening$
=& we depre"" the +ey )ery "lowly, we o;"er)e a "eDuen!e o& e)ent"$ 4t the point o& !onta!t
when the top o& the repetition le)er (or ;alan!ier) meet" the drop "!rew on the under"ide o& the
hammer &lange, &urther ri"e o& the ;alan!ier at thi" point o& !onta!t "top"$ Propelled ;y the >a!+,
the hammer !ontinue" to ri"e until let-o&& i" rea!hed$ 4&ter let-o&&, the hammer will drop ;a!+
&rom the point o& let-o&& i&, and only i&, the drop "!rew i" "et "o a" to "top the upward motion o&
the ;alan!ier at a point ;elow the let-o&& point$ =t i" thi" di"tan!e, ;etween let-o&& and ;alan!ier
rail "top, that determine" the drop "etting$ Fo matter how early the ;alan!ier !onta!t" the drop
"!rew, drop !annot happen until the >a!+ "+ip" out &rom underneath the +nu!+le$ The
;alan!ierJdrop "!rew ad>u"tment may determine the height or depth o& drop, ;ut drop !an only
o!!ur a&ter the point o& let-o&&$ =deally, the amount o& "pa!e "et &or drop i" proportional to the
amount o& "pa!e "et &or let-o&&$ 7or high per&orman!e piano", le"" i" ;etter$
4t thi" time in the regulation pro!e"", drop "hould already ;e )ery !lo"e to it" ideal "etting$
To re!ap, one o& the )ery &ir"t thing" we did wa" to en"ure that drop o!!urred on ea!h note$
1e)eral time" during the pro!e"" we !he!+ed and ad>u"ted the drop, ea!h time getting it nearer
and nearer to it" &inal pla!e$ 8ith all the pre)iou" "tep" !orre!tly regulated, a properly "et drop
pre)ent" the hammer &rom ;lo!+ing again"t the "tring$ .ne o& the primary rea"on" &or regulating
drop at thi" point rather than earlier in the pro!e"" i" that "o many other &a!tor" !an al"o !au"e the
hammer to ;lo!+ again"t the "tring$
Pla!ing your thum; under the ;ottom o& the +ey to ;lo!+ it a&ter let-o&&, depre"" a +ey "o that
it goe" through let-o&& ;ut not into a&tertou!h$ 3epre"" an ad>a!ent +ey to it" highe"t po"ition >u"t
;e&ore let-o&&$ 4d>u"t the drop on the &ir"t +ey ;y rotating the drop "!rew up &or le"" drop or
down &or more drop$
8ith drop ;eing "et, all umpteen "tep" in the regulation pro!e"", "a)e one, ha)e ;een
ad>u"ted$ The a!tion now "hould ;e &un!tioning the way it wa" de"igned to per&orm$ 4lthough
thi" "erie" doe" not in!lude damper regulation, we remind you that properly regulated damper"
are e""ential &or maAimum le)el per&orman!e$ Be !ertain that the damper up"top rail &un!tion"
properly$ 4 di"!erning piani"t will not a!!ept the ;ump at the end o& the +ey !au"ed ;y an
improperly "et up"top rail$ 8hen the damper pedal i" &ully engaged, any "ingle damper head
"hould "till ;e a;le to ;e li&ted )ery "lightly a;o)e the top o& the line o& the damper head"$
4"ideC a" we "tated early in thi" "erie", ma>or repair" and a!tion geometry are ;eyond the
"!ope o& thi" "erie"$ 'owe)er, we en!ourage all to "tudy Bo; 'oh&:" arti!le in the June 2000
i""ue$ 'i" di"!u""ion o& the ?magi! line@ &or !ap"tan alignment will !ertainly help in
under"tanding how importantly thi" a&&e!t" the regulation pro!e""$
Be&ore we del)e into a&tertou!h, let:" tou!h ;rie&ly again on tho"e "tep" that a&&e!t it$ Tho"e
that ha)e the mo"t immediate e&&e!t on the a!tual tou!h areC
'ammer tra)el O =& the hammer ;low di"tan!e i" une)en &rom note to note, a&tertou!h will ;e
a&&e!ted$ Compen"ation mu"t ;e made at "ome point to !orre!t the ine)ita;le une)enne""$
%ey dip O =& the depth the +ey mo)e" down i" une)en &rom note to note, a&tertou!h will again ;e
a&&e!ted and "ome other a"pe!t mu"t ;e !hanged to !ompen"ate$
%ey height O 1in!e we pre&er one a"pe!t o& the regulation pro!e"" to ;e the one "tati! point &rom
whi!h we re&eren!e all other", +ey height i" rarely !hanged$ 'owe)er, do not &orget that i& a
!hange i" made a&ter the initial +ey height i" e"ta;li"hed, thi" too will a&&e!t a&tertou!h$
Tho"e that ha)e the mo"t e&&e!t on the amount o& a&tertou!h areC
Ja!+ po"ition O ;e!au"e the amount o& mo)ement &rom it" re"t po"ition to it" ;eing &ree o& the
+nu!+le will )ary proportionately to it" a!tual mo)ement$
Balan!ier height O ;e!au"e thi" a&&e!t" the mo)ement o& the >a!+$
(et-o&& O ;e!au"e the amount o& let-o&& i" dependent on how !lo"e the hammer !ome" to the
"tringH the !lo"er to the "tring, the le"" a&tertou!h (other thing" ;eing eDual) and )i!e )er"a$
3rop O ;e!au"e the amount o& drop i" dependent on let-o&&$
1light ad>u"tment o& the glide ;olt" on "o&t wood &rame" will al"o a&&e!t a&tertou!h$
Change" in the amount o& repetition "pring ten"ion and point o& ;a!+!he!+ing will al"o, ;ut
to a le""er degree, ha)e a per!ei)ed e&&e!t on a&tertou!h ;e!au"e the &or!e or momentum u"ed to
mo)e the +ey and wippen a""em;lie" would ha)e a di&&erent tou!h when the"e are !hanged$
8hene)er we "et a&tertou!h, we allow &or !ertain )aria;le"$ .ne o& the primary &a!tor" will
;e the need" o& the per&ormer$ 4 !on!ert piani"t will eApe!t the maAimum range o& power and the
maAimum range o& tone$ 'umidityJen)ironmental &a!tor", !ondition o& a!tion part" and the
)agarie" o& the in"trument all in&luen!e the &inal de!i"ion &or "etting it$ 4&tertou!h, whate)er the
amount, a""ure" the"e &a!tor" will ;e "et to enhan!e the piani"t:" a;ility to ma+e mu"i!$
1o, what i" it and what do we do to ad>u"t it< 4&tertou!h i" the amount o& downward
mo)ement o& the +ey a&ter let-o&& until the +ey "top" at the +ey;ed &elt pun!hing"$ The )i"ual
demon"tration that a&tertou!h eAi"t" i" the ri"e o& the hammer immediately a&ter drop ;ut ;e&ore
the +ey i" phy"i!ally relea"ed$ The longer the di"tan!e o& that ri"e, the more a&tertou!h
e"ta;li"hed$ 4t the point o& drop, the &orward portion o& the ;alan!ier remain" &iAed ;y the drop
"!rew$ 7urther tra)el o& the +ey !au"e" the wippen to tra)el upward$ 1in!e the &orward point o&
the ;alan!ier i" in a &iAed po"ition ;y the drop "!rew and the wippen heel i" ;eing &or!ed upward
;y the !ap"tan, the momentum o& thi" &or!e !au"e" the rear o& the ;alan!ier to mo)e the hammer
upward$ Thu", we "ee the )i"ual e)iden!e o& a&tertou!h$
4nother )i"ual te!hniDue i" to ma+e "ure the >a!+ !lear" the +nu!+le (>u"t a tad, ;ut no more
than # mm) when the +ey >u"t !onta!t" the &ront rail &elt$ 8ith &irmer pre""ure, a" in a mf ;low,
the !learan!e will ;e more, ;ut "hould not ;e more than 2 mm$ The o;>e!ti)e i" to ha)e minimum
>a!+ tra)el and ample !learan!e ;etween the >a!+ and the "top &elt$ The "top &elt "hould limit
tra)el only &rom the momentum o& a fff ;low$
=n any gi)en +ey a""em;ly who"e part" are in good wor+ing order and where all parameter"
ha)e pre)iou"ly ;een e"ta;li"hed to the de"ired regulation, a&ter e"!apement (;oth let-o&& and
drop) the >a!+ "hould ne)er ;lo!+ again"t the "top &elt$ =& a&tertou!h i" "et "o that the >a!+ ;lo!+",
>a!+ tender" will ;rea+$ =n"u&&i!ient !learan!e produ!e" a "pongine"" that the per&ormer will not
a!!ept$ Gi)en that we ha)e regulated let-o&& and drop to )ery !lo"e toleran!e", the hammer ri"e
need" to ;e minimiBed to pre)ent it ri"ing to the point o& ;lo!+ing on the "tring$ Clo"e toleran!e"
and wide a&tertou!h do not !oeAi"t$
Fow that a&tertou!h i" "et, the &inal "tep i" to go ;a!+ and re-!he!+ e)erything one more time$
(Bet you thought we wouldn:t "ay do it again, didn:t youN)
=n the"e !riti!al area" lie" the art o& our pro&e""ion$ 8e te!hni!ian" !onne!t the &eel and tone o&
the in"trument &or the piani"tH the piani"t tran"late" the mu"i!H the ;eauty i" heard in the ear" o&
the ;eholder$ Rather ni!e, i"n:t it<
Chapter 5
Trap 1y"tem" Ba"i!"
=ntrodu!tion
(i+e many te!hni!ian", = u"ed to &ear and dread wor+ing on grand damper"$ =n truth, = "imply
did not +now what = wa" doingH ?"ta;;ing in the dar+@ would ;e a +ind de"!ription o& how =
approa!hed damper pro;lem" &or many year"$ Today, damper wor+ i" one o& my &a)orite >o;",
mainly ;e!au"e there i" a "mug inner "ati"&a!tion !ontra"ted again"t my pre)iou" ineptitude, and
the "en"e o& a!!ompli"hment that !ome" &rom ma"tering a "+ill$
.)er a period o& "e)eral year", = read e)erything that = !ould get my hand" on a;out the
"u;>e!t, and o&ten wondered what wa" wrong$ Fow, a&ter repla!ing doBen" o& damper "et", and
ha)ing the good &ortune to re!ei)e &a!tory training &rom ;oth the Gamaha and Baldwin piano
!ompanie", = ;elie)e that = +now a little more a;out what =:m doing, and !an o&&er "ome in"ight
on the "u;>e!t$ Be"ide" !o)ering the regulation o& the damper" and trapwor+, we will ta+e an in
depth loo+ at general trou;le"hooting and repair" O &rom the pedal" to the damper head"$
=t i" impo""i;le to regulate the damper" or trapwor+ &or !on"i"tent operation i& the pedal or
trapwor+ ;u"hing" are worn or are in poor !ondition$ 8e will "tri)e to gi)e you all the
in&ormation reDuired to &a!ilitate e&&e!ti)e repair" that will la"t and ;e trou;le &ree$
Con!ert mu"i!ian" will ;e )ery &u""y a;out the "tate o& the pedal"H they u"e them in many
"u;tle way" to )oi!e and tonally !ontrol a pa""age o& mu"i!$ Fot in the onJo&& manner that mo"t
o& u" u"e to !he!+ the operation, ;ut ;y u"ing a te!hniDue +nown a" hal&-pedaling$ Ju"t to de&ine
hal&-peddling, &or tho"e who are un&amiliar with the termC the damper pedal i" depre""ed >u"t
enough "o that the damper" will >u"t "tart to ;leed, ma+ing a note or pa""age "ound a little &uller$
8ith una !orda hal& peddling, the piani"t will u"e the pedal to >u"t mo)e the "tring" out o& the
groo)e", to &ind the "o&t part o& the hammer$ Thi" will alter the teAture and tone without the
piani"t ha)ing to !hange dynami!"$ Both o& the"e te!hniDue" reDuire a high le)el o& piani"ti!
"+ill, ;ut a good piani"t will demand high per&orman!e &rom the"e )ery important &un!tion",
"in!e they are a" adept with their &eet a" they are with their &inger"$
8hen the pedal" are !orre!tly regulated, and are &un!tioning at the maAimum potential, they
will ;e !apa;le o& produ!ing a wide )ariety o& tonal !olor" and "pe!ial e&&e!t" that will add a
whole new dimen"ion to the mu"i! ;eing per&ormed$ =t i" there&ore )ery important that when the
pedal i" depre""ed, "ay #JK, the identi!al tonal re"ult will ta+e pla!e ea!h time on ea!h note$ Thi"
will not happen i& there i" "ide-to-"ide mo)ement in the pedal" and pedal rod", or i& the trapwor+
i" "lopping a;out in ;etween the guideJpi)ot ;lo!+", or aAle pin" are loo"e$ Ea!h mm o&
mo)ement with the pedal, mu"t tran"late to mo)ement" within the a!tion !a)ity, and not ;e lo"t
in the lin+age o& the me!hani"m$
=n!orre!t lu;ri!ant" and poor-Duality material" in the pedal" and trapwor+ are o&ten the !au"e
o& unrelia;le and &aulty operation$ .il and 830 are a;"olute no-no"$ (ea)e them in the garage
where they ;elong$ Poor-Duality &elt or leather will wear Dui!+ly, "o ;e "ele!ti)e with
repla!ement material"$
Ea!h point in the trapwor+ lin+age !an ;e "u;>e!ted to pre""ure" o& "e)eral hundred pound"
per "Duare in!h$ There&ore, it i" )ery important to u"e a lu;ri!ant that will "tay where you put it,
and not e)aporate or ;e pu"hed a"ide, and that repla!ement material" are o& the highe"t Duality$
Trap 1y"tem Ba"i!"
To "tart with, here are "ome thought" to +eep &iAed in your mind when wor+ing with damper
"y"tem"$ Thin+ in term" o& all the !omponent part" a" needing to mo)e in !lean, )erti!al plane",
with relia;le rotational mo)ement$ 4ny "ideway" motion i" una!!epta;le, and thi" hold" true &or
all !omponent"C the pedal", trapwor+, underle)er", damper wire", and head"$
7or "e!ure and reprodu!i;le operation, we need "e)eral thing" to ;e !ar)ed in "tone$
#$ There i" no "ide-to-"ide play in the pedal", yet they !an mo)e &reely up and down &or Dui!+
re"pon"e$
2$ The pedal rod" are &irmly and "e!urely !onne!ted to the rear o& the pedal" and are held in
pla!e ;y the guide"$
*$ The pedal rod ha" a &iAed !onta!t point with the trapwor+, ;ut i" &ree to "lide a little on it"
!onta!t "ur&a!e$
$ There i" no "ide-to-"ide "loppine"" in the traple)er", yet the end" tra)el &reely a;out their
aAe"$
To "u!!e""&ully repair and re&ur;i"h pedal" and trapwor+, you will needC
S 4 "upply o& good Duality wo)en ;u"hing !loth, in a )ariety o& thi!+ne""e"$
S 4 "upply o& &irm &elt to limit pedal tra)el in"ide the pedal ;oA$ = pre&er hammer &elt, !ut to
thi!+ne"" on the ;and "aw, where po""i;le$ 9ery &irm and dura;le, parti!ularly good &or die
"tamped pedal"$
S 4 )ariety o& ;alan!e and &ront rail pun!hing"$ To ;e u"ed a" po"itioning "pa!er" ;etween the
pedal" and the pedal dowel" or aAle !lamp"$
S 4 )ariety o& &elt &or pedal "urround"$
S 4 ;lo!+ o& para&&in waA or Prote+ grea"e$ Iy per"onal pre&eren!e i" para&&in waA$
S 4 "ele!tion o& leather$
S 1ome thi!+ leather &or pedal rod !onta!t pad"$ 1hoe leather and an ar!h pun!h are ideal &or
ma+ing the"e #K diameter pad"$
Grand pedal "y"tem" &all into two general !ategorie"$ #$ The !lamped aAle type$ (Three pedal"
on a !ommon aAle) 2$ The "pline aAleJpedal dowel type$
Clamped 4Ale
The !lamped aAle type u"ually ha" a pie!e o& &olded ;u"hing !loth that i" !lamped o)er the
aAle and &it" into a groo)e on the pedal$ 8hen the !loth wear", "ide play "tart" to de)elop in the
pedal", while noi"e" and "Duea+" in!rea"e and re&ined !ontrol "tart" to di"appear$
8hen re&ur;i"hing thi" type o& pedal "y"tem, = li+e to u"e high-grade wo)en +ey ;u"hing !loth
and melt para&&in waA into the area o& aAle !onta!t$ Thi" will totally impregnate the &elt and
pre)ent wear, and gi)e year" o& good, "Duea+-&ree lu;ri!ation$ 6"e &irm ;alan!e rail &elt
pun!hing" on the aAle to en"ure !orre!t !entering o& the pedal" in the ;oA$ Thi" will pre)ent the
pedal &rom ru;;ing again"t the "ide" o& the ;oA and +eep it !entered$ =n"pe!t the aAle !are&ully
&or ni!+" and dent" and repla!e the aAle i& it:" de&e!ti)e$ Thi" type o& "teel rod i" readily a)aila;le
&rom good hardware "tore"$
The &iAed aAle !lamp" "hould ;e "e!ure "o there i" no mo)ement o& the aAle$
3i"a""em;ly o& "ome %orean manu&a!turer:" pedal" ha)ing !lamp" held in pla!e with a
Phillip" "!rew !an o&ten ;e di&&i!ult, "in!e the "!rew" "eem &roBen in pla!e$ 6"ing a large
Phillip"-head "!rewdri)er on a "o!+et "et ma+e" the >o; "imple$
1pline 4Ale
8ith the pedal dowel type, !are&ully in"pe!t the aAle &or any ni!+" or ;urr", !hange the "pline
aAle i& reDuired (a)aila;le &rom "upply hou"e")$ =& the dowel" are worn, my pre&eren!e i" to ma+e
new one" &rom maple, u"ing a good ma!hini"t )i!e and drill pre"" to drill the hole" a!!urately in
the !enter o& the dowel$
7or a &ield &iA, u"e a "pare aAle with a thin !oat o& 9a"eline, and &ill the "ide" o& the worn hole"
with medium gap-&illing C4 glue, or &i)e-minute epoAy$ 4&ter !uring, melt para&&in waA into the
hole &or lu;ri!ation$ The C4 repair "eem" to ;e imper)iou" to !hange" in humidity and i" )ery
dura;le$ = ha)e had "ome thought" a;out pre-treating newly made pedal dowel" with the thin C4
produ!t$
Both o& the"e pro!edure" wor+ )ery well and there ha)e ;een no "er)i!e re!all" with either o&
the"e repair" to my +nowledge$ Ju"t lu;ri!ating worn part" will not la"t$ Remem;er when you get
a !all-;a!+, you pay &or the time, "o thin+ in term" o& doing a la"ting repair and getting paid &or
it$
7or the rear o& the pedal, there are a wide )ariety o& arrangement" &or !oupling the pedal rod to
the pedal"$ 7or many pedal "et", = &ind that the Gamaha pedal rod repla!ement +it" wor+ well and
are noi"e-&ree when u"ed with Te&lon powder$ 3rill out the rear o& the pedal, i& ne!e""ary, to
re!ei)e the leather pad and ru;;er !ollar$ 3u"t with dry Te&lon powder to pre)ent "Duea+", then
rein"tall the rod$ Remem;er that petroleum-;a"ed produ!t" will degrade the ru;;er in a relati)ely
"hort period o& time$
8hen re;u"hing pedal rod guide hole", "ele!t the !orre!t thi!+ne"" o& ;u"hing !loth or
leather, "o that the pedal rod ha" minimal "ide play$ The pedal rod "liding around on the !onta!t
point" o& trapwor+ !au"e" many "Duea+" and groan"$ Clean out the worn ;u"hing !loth$ 1team or
water i" a good method &or remo)ing the old ;u"hing !loth and glue, and you will &ind it mu!h
ea"ier i& the guide ;lo!+ i" deta!hed$ Cut the &elt to the de"ired width to !ompletely !o)er the
!ir!um&eren!e o& the guide hole$ Remem;er high "!hool< ?3 A T$@ Ju"t mea"ure the hole and
!al!ulate the !ir!um&eren!e &or the de"ired width o& ;u"hing !loth$
Taper the end o& the &elt a" "hown, draw through the guide hole, apply a little glue to the end
o& the &elt, and draw it through to ;e &lu"h with one "ide o& the guide rail$ (et the glue dry, then
trim the oppo"ite "ide with a "harp raBor +ni&eH remem;er to ;e "paring with the glue$ Too mu!h
glue and it will wi!+ into the ;u"hing !loth, and the ;u"hing will lo"e mu!h o& it" re"ilien!e$
.&ten, you !annot &ind the !orre!t thi!+ne"" o& Duality ;u"hing !loth to get the de"ired re"ult$ =n
thi" !a"e, dou;le-;u"h the hole" with two layer" o& thinner !loth$ (et the &ir"t ;u"hing dry ;e&ore
re;u"hing the "e!ond layer$
The traple)er" are a !ommon "our!e o& di&&i!ult-to-dete!t noi"e"$ 1ound tra)el" and the"e
noi"e" are o&ten &ru"trating to lo!ate$ 4t time", when trying to tra!e the"e noi"e", = ;elie)e that the
+ey;ed i" a" e&&i!ient a" the "ound;oard$ Ea!h ;earing point and !onta!t area i" a potential area
&or the"e noi"e" and lo"t e&&i!ien!ie"$
3ue to la!+ o& tool" and "hop &a!ilitie", ma+ing new trapwor+ !omponent" i" impra!ti!al &or
many te!hni!ian"$ But mu!h !an ;e done to ma+e e&&e!ti)e repair" that will ;e dura;le and
trou;le &ree$ The a;o)e-mentioned C4 glue repair &or o)er"iBed or worn hole" i" >u"t one "u!h
approa!h$
.ne o& the more !ommon &ault" that we en!ounter i" an enlarged pin hole, either in the
traple)er it"el& or in the le)er ;lo!+"$ 1ometime" we !an get lu!+y$ Ju"t re-drill the hole and u"e a
larger-"iBe hinge pin, or ma+e your own pin" &rom #J2K or *J#/K rod$ Two drill ;it" are neededC
one &or a &or!e &it in the le)er, to pre)ent the pin &rom ?wal+ing out,@ the other &or a !learan!e
hole in the ;lo!+"$ The addition o& a "et "!rew on the le)er will help redu!e &uture wear and !ure
the wal+-out pro;lem &or good$
To in"tall a "et "!rew, mar+ the !enter line o& the le)er hole with a "et "Duare, !enter-pun!h
the po"ition &or the "et-"!rew hole, and drill a hole to a!!ept a E/ wood "!rew$ =n"tall the "!rew,
to !ut a thread in the le)er$ Remo)e the "!rew and !ut the tip o&&$ 7ile the end o& the "!rew !lean
and rein"tall$ Thi" will pre)ent damage to the pin, plu" it will gi)e a larger !onta!t "ur&a!e with
pin and "!rew$ Gamaha trapwor+ pin" ha)e a !lip to pre)ent wal+out, or a "mall ele!tri!al !a;le
!lip$ (oo+ at the "y"temH it will gi)e you a &ew good repair idea"$
=& the in"ide o& the le)er ;lo!+" ha" &elt or leather glued to the "ide", it i" wi"e to repla!e it$ Ia+e
"ure you "ele!t the !orre!t thi!+ne"" o& material to hold the le)er parallel and pre)ent "ide-to-"ide
mo)ement$ Ru; or melt para&&in waA into the material &or lu;ri!ation$ =& the "ide" o& the le)er"
ha)e ;een roughly !ut at any o& the !onta!t point", "and them "mooth$
Io"t traple)er" ha)e a #U:-diameter, thi!+ pad o& hard leather glued to the end that ma+e"
!onta!t with the pedal rod$ =& thi" pad i" deeply dimpled, !ut a new leather pad out o& "hoe leather
with an ar!h pun!h$ The tanned "ide o& the leather "hould !onta!t the pedal-rod !ap"tan$ Glue to
the le)er with hot hide glue or apply white glue to the leather, and C4 glue to the wood or metal
part o& the le)er, then pre"" the two pie!e" together, holding &or a;out *0 "e!ond"$ 7or the metal
una !orda le)er", ;urnt "hella! wa" o&ten u"ed to glue the leather pad"$ Today we ha)e many
good !onta!t !ement" that will al"o wor+ >u"t a" well$
Iany older una !orda le)er" ha)e a wooden in"ert that the pin pi)ot" through$ Be!au"e o& the
hea)y load o& the a!tion, a lot o& "tre"" and wear ta+e pla!e at thi" point$ 3rill out the old dowel
and &or!e-&it a new one$ =& you dry the dowel down in the o)en on low heat it will "hrin+, ma+ing
it a lot ea"ier to in"tall$ 3ry down the dowel at home and pla!e in a Vip-lo!+ ;ag until you are
ready to in"tall$ .n in"tallation, drill &or a &or!e-&it o& the pinH a" the dowel ta+e" on moi"ture the
pin will ;e gripped )ery tightly$
Che!+ the pitman and "o"tenuto li&ter to ma+e "ure that they will not ru; or ;ind through the
+ey;ed$ =& the pitman ha" end pin", al"o !he!+ to en"ure that the pin" are long enough to pre)ent
them &rom >umping out with )igorou" pedal operation$ =& the pin" are too "hort or loo"e, remo)e
them, &ill the hole with &i)e-minute epoAy, and re-in"tall the pin at the de"ired length$ Io"t
modern aluminum li&ter tray" ha)e ru;;er !ollar-type ;u"hing" &or the pitman$ Repla!e them i&
they are hard or worn$ They are a !ommon "our!e o& !li!+" and !la!+"$
7inally, !he!+ and lu;ri!ate all "pring and pitman !onta!t point", ma+ing "ure that all "pring
"!rew" are "e!ure$ =n the !a"e o& !oil "pring", wea)ing +ey ;u"hing !loth through the !oil" will
o&ten redu!e !rea+" and groan"$ Iany %orean piano" ha)e #K A #JK ;lind hole" drilled into the
;ottom o& the +ey;ed and the top" o& the traple)er", to "e!ure a #K !oil "pring, and many are not
lined$ Cut a thin leather pad with an ar!h pun!h &or the ;ottom o& the hole$ Glue "ome thin +ey
;u"hing !loth around the "ide o& the holeH thi" will greatly redu!e unwanted noi"e"$ =& the le)er i"
groo)ed &rom a lea& "pring, "and out the groo)e and lu;ri!ate with waA$
8ith all thi" done, ea!h mm o& mo)ement o& the pedal" will ;e e&&i!iently tran"&erred to the
damper underle)er tray, and into a!tion mo)ement )ia the pedal "hi&t arm$ Ju"t li+e in &ine
regulation, attention to detail i" the +ey to "u!!e""$
Chapter #0
3amper", 6nderle)er", W Guide Rail"
=& you ha)e tra)eling pro;lem" with an underle)er, it will "tart to mo)e the damper wire to
the "ide and !au"e it to "tart ;inding in the damper guide$ Thi" "ideway" mo)ement !an ;e noted
at the damper head and will ma+e it di&&i!ult to attain !lean damping$ 8ith well-regulated
underle)er" and the end" o& the damper wire" "traight and in a )erti!al plane, the underle)er and
li&t &lange ("ometime" !alled top &lange) "hould "lide up and down &reely on the damper wire,
with the "et "!rew ;a!+ed o&&$ To get to thi" point we need to !he!+ and "er)i!e "e)eral thing"
within the underle)er a""em;lyC
#$ Centerpinning$
2$ Tra)el$
*$ 9erti!al po"ition o& the damper li&t &lange (top &lange)$
$ 1e!urity o& underle)er lead"$
,$ 1pring and "lot !ondition$
/$ 6nderle)er tray pi)ot ;lo!+"$
=n the la"t &ew year" = ha)e repinned many "et" o& underle)er"$ Be"ide" tho"e done in the
!our"e o& re;uilding, a "igni&i!ant num;er o& 4"ian piano" ha)e had pin plating pro;lem"$ The"e
piano" "eem to ;e in the #,- to 20-year-old age group and eAhi;it eAtreme damper pro;lem"$
Both the &lange and li&ter !enter" tend to &reeBe up$ 8hen you en!ounter an 4"ian piano o& thi"
age group that ha" &roBen !enterpin pro;lem", in"pe!t the pin" !are&ully$ =& the pin" "eem pitted or
"!ored, prepare the !u"tomer &or a potential !omplete repinning >o;$ 4nything le"" and you will
li+ely ;e plagued with re!all"$ Treating the"e !enter" with !enterpin lu;ri!ant may help &or a &ew
wee+" at ;e"t$ The only pro&e""ional &iA i" to ream the ;u"hing !lean and repin ;oth the &lange
and the damper li&t &lange$ 1ome te!hni!ian" will ad)o!ate repinning and re;u"hing, whi!h i"
&ine, ;ut = ha)e had no pro;lem" with repinning two "iBe" o)er$
3on:t e)en thin+ o& doing thi" >o; in the pianoH the &lange "!rew" will dri)e you in"ane$
Remo)e the underle)er tray, and do the >o; on the ;en!h or a ta;le$ Thi" i" one o& tho"e >o;"
where #00 per!ent o& the pin" need !hanging$ = li+e to ream out &or E2# pin" to ma+e "ure that all
de;ri" i" remo)ed &rom the ;u"hing !loth$ The !riteria &or "e!ure ;ut &ree pinning are that the
&lange "hould >u"t &all with the weight o& the &lange "!rew, ;ut "hould not &all under it" own
weight$ The li&t &lange "hould "tart to &all !leanly under it" own weight, when the le)er i" )erti!al
and the li&ter i" held horiBontal$ Remem;er, the"e !omponent" are lo!ated in a )ery di&&i!ult to
rea!h lo!ation, "o !he!+ and dou;le-!he!+ your wor+ ;e&ore rein"tallation$ =& you are repairing
an i"olated underle)er, a good Duality, "el&-grip "!rewdri)er to hold the &lange "!rew i" a mu"t to
re-in"tall the underle)er$
To remo)e a 1teinway underle)er with the horiBontal glued &lange, drill two "mall indeA hole"
though the &lange and into the tray$ Thi" will en"ure that you !an reglue it ;a!+ in it" original
po"ition$ Ta+e a wet !loth and "team the &lange with a hot iron until it will relea"e$
3o the reDuired repair"$ Ia+e "ure the "ur&a!e" o& the &lange and tray are !ompletely !lean$
3ry &it and !lamp &irmly in po"ition with a "mall C-!lamp$ Che!+ tra)el and the )erti!al po"ition
o& the li&t &lange ;e&ore regluing$ 6"e only hide glue to rein"tall$
FeAt we need to tra)el, "pa!e, and rotate the underle)er"$ Thi" tra)eling pro!edure wa"
!o)ered well in the ?=ntera!ti)e Regulation@ "erie"$ The )erti!al line" on the edge ena;le you to
"ee the tra)eling in the piano$ Ju"t !lip the ;ar to the two end le)er" o& ea!h "e!tion, and o;"er)e
and !orre!t any "ideway" mo)ement$ 6"e a "et "Duare on the ;en!h or in the piano, to !he!+ that
all the li&ter" are plum; and )erti!al$ Rotate the &lange to !orre!t$ =& the li&ter i" out o& "Duare ;y a
large amount, !he!+ to "ee that the !enterpin i" "Duare through the ;u"hing, re;u"h, and repin to
!orre!t, remem;ering to !he!+ the !orre!t pin "iBe within the ;ird:"-eye$ The more &a"tidiou" you
are with tra)el, "pa!ing, and rotation, the ea"ier thing" will ;e later
Che!+ the underle)er lead" &or "e!urity$ Three method" &or tightening loo"e lead"C
#$ Remo)e the le)er and u"e a +ey lead pun!h to "pread the lead$
2$ C4 glue will "e!ure the lead and "ta;iliBe the wood i& there i" a wood "hrin+age pro;lem$
Thi" i" a )ery pra!ti!al &ield repair$
*$ 4 !u"tom-made "et o& underle)er lead plier"$ 7a"t and e&&i!ient, without ha)ing to remo)e the
underle)er"$ Ju"t "DueeBe the lead"$ The tool wa" de"igned ;y Gamaha$
'ere:" how to !he!+ &or loo"e lead" ;e&ore "trip-downC
S 3epre"" the damper pedal to the point where the damper" are >u"t "tarting to li&t$
S 7li!+ the underle)er "o it will ;oun!e on the tray$ (i"ten to the noi"e o& the underle)er hitting
the tray and you will hear the pro;lem$
1ome underle)er "y"tem" ha)e no lead", ;ut u"e "pring"$ 1ome u"e a !om;ination o& ;oth$
The "pring "lot" and "pring" need to ;e !lean and well lu;ri!ated$
S 1harpen a hammer"han+ with a pen!il "harpener and ;urni"h the "lot !lean$
S Poli"h the "pring tip with a 8hite 1!ot!h-Brite pad$
S (u;ri!ate and ;urni"h the "lot with ProTe! grea"e$
S 8hen "ome o& the old lu;ri!ant" dry out, "liding &ri!tion will greatly in!rea"e and !an ;e the
!au"e o& "luggi"h re"pon"e$
S Re-ten"ion the "pring" i& reDuired$ Ju"t enough ten"ion to pre)ent damper ;oun!e i" all that i"
needed$
S =& the underle)er tray pi)ot ;lo!+" are worn, repair and lu;ri!ate$ Ia+e "ure the &elt "pa!er
;u"hing" are in good !ondition, and that the tray will not mo)e &rom "ide to "ide on!e the ;lo!+"
are "e!ure$
S The underle)er tray &elt "hould ;e &lat and e)en to en"ure that the pedal will a!hie)e e)en
damper li&t$ =& you repla!e the tray &elt, ma+e "ure your glue line will only !onta!t the rear hal& o&
the &elt width$
S Repla!e the trayJdag "top &elt, i& reDuired$
S Che!+ and "er)i!e any tray "pring"$
S Che!+ and "er)i!e the pitman !onta!t "ur&a!e", andJor ;u"hing"$
S Rea""em;le$
The 3amper Guide"
Badly worn damper guide rail" are a !ommon "our!e o& unwanted noi"e" and rattle"$ 4 "iBBle-
li+e "ound !an o&ten ;e heard a" the damper "tart" to damp the "tring"$ The momentum o& the
"tring" will !au"e the damper head to o"!illate ;a!+ and &orth with the motion o& the "tring",
greatly redu!ing the e&&i!ien!y o& damping$
FeAt, we will re;u"h and "iBe the guide rail$ Remem;er our )erti!al thin+ingN 8e ha)e the
damper underle)er and li&t &lange mo)ing upward in a ni!e )erti!al manner$ 1o i& we ha)e
damper guide" that ha)e )erti!al and !orre!tly "iBed "ur&a!e", it i" going to &iA the po"ition o& the
upper part o& the damper and wire$ Thi" will ena;le u" to do all the wire ;end" in a logi!al and
"y"temati! matter$ = li+e to thin+ o& thi" a" ?di)ide and !onDuer$@ 6nderle)er" o+ay, guide" o+ay$
=t:" got to ;e the wire$ (ogi!al$
Remo)e the damper" and pla!e them in order "o they will not get miAed$ =& you do not ha)e a
damper ra!+, pun!hing a "erie" o& hole" in the top o& a !ard;oard ;oA i" a "imple way to "tore the
damper head" "a&ely$ Remo)e the guide rail", ma+ing "ure not to miA the "!rew"$ =t:" a per"onal
&eti"h o& mine to put the "!rew" ;a!+ into their re"pe!ti)e hole" until rein"tallation$
There are "e)eral way" to remo)e the old ;u"hing"C "teaming, "oa+ing, wallpaper remo)er O
we all ha)e our &a)orite"$ Iy method i" a ;u!+et o& warm water with detergent$ = "!ru; the rail"
with a "!ru;;ing ;ru"h and lea)e &or #, minute"$ The ;u"hing" will >u"t pu"h out ni!e and !lean$
Re"!ru; to remo)e any re"idual glue, dry with "ome !loth", lea)e o)ernight to dry !ompletely,
and the rail" will loo+ new$
1ele!t the !orre!t thi!+ne"" and width o& ;u"hing !loth, and re;u"h$ Remem;er to tear the
;u"hing !loth "o the "ide" are a little ragged$ Thi" will gi)e you a tighter ;utt >oint$ Thi" i"
de&initely a pla!e &or hot hide glue$ Be "paringH you do not want it to wi!+ into the ;u"hing$ Thi"
method will ma+e it ea"y &or the neAt per"on to do the "ame repair$
4&ter the glue ha" dried, = pre&er to "iBe the ;u"hing" in the &ollowing mannerC 8et ea!h
;u"hing with ,0 per!ent al!ohol, ,0 per!ent water$ Iany damper wire" are $002,K diameter, "o i&
you in"ert a $00,K ;ridge pin and lea)e o)ernight to dry, you will ha)e a ;u"hing with per&e!t
!learan!e$ 6"ing a hairdryer to "peed the pro!e"" i" an option, ;ut it !an o)er-"iBe the ;u"hing"$
4" the ;u"hing" are drying, ma+e "ure that the ;ridge pin" are ni!e and )erti!alH you do not want
to "iBe the hole" o&&-plum;$ Remem;er, we "aid to thin+ in )erti!al line"$ .n!e dry, u"e the "ame
"iBe ;ridge pin in a pin )i"e to ;urni"h a little dry Te&lon powder into the ;u"hing !loth$ 4 !lean
damper wire will "lide ni!e and &ree, ;ut will ha)e little "ide play$
8ith well-tra)eled and well-"pa!ed underle)er", )erti!al li&t &lange", "iBed and )erti!al guide
;u"hing", we ha)e eliminated many o& the )aria;le"$ Bending damper wire" to try and "ol)e any
o& the a;o)e will u"ually ma+e matter" wor"e, not ;etter$ Reaming ;u"hing" i" u"ually not a good
idea$ =& the end o& the damper wire run" &reely through the ;u"hing, the ;u"hing i" not the
pro;lem, ;ut a "ymptom o& in!orre!tly ;ent or po"itioned damper wire"$
=n the &ield, i& = ;elie)e a ;u"hing need" "iBing, = remo)e the damper, heat the end o& the
damper wire with a di"po"a;le lighter, then ;urni"h the ;u"hing with the hot wire$ 4pply a little
Te&lon powder and ;urni"h in with the damper wire$ Poli"h the damper wire" with a good Duality
metal poli"h, ;eing !are&ul not to damage or "tain the damper &elt$
Rai"e the damper up"top rail to it" highe"t po"ition and lower the damper li&t tray to the
lowe"t po"ition$ Rein"tall the damper", ma+ing "ure that the "!rew" are well ;a!+ed out and that
the li&t &lange will "lide up and down the wire &reely$ =& not, remo)e the damper and lightly tap
the end o& the wire on a hardwood ;lo!+ with a "mall hammer a" you rotate the wire ;etween
your &inger and thum;$ Thi" will en"ure that the end o& the wire i" "traight$ =& the wire i" ni!+ed,
when you try to tighten the "!rew, the wire will +eep going ;a!+ to the "ame po"ition$ Poli"h the
ni!+ out with E/00 wet or dry "andpaper$ =& the damper wire i" ;adly out o& alignment, the li&t
&lange may not "lide on the wire O more a;out that later$ 8e ha)e "ome intera!ti)e thing" that
ta+e pla!e in thi" area, too$
7inally, ma+e "ure the damper guide rail "!rew" are "nug$ 4 mo;ile rail i" &ar &rom the ea"ie"t
pro;lem to tra!+ down$
Chapter ##
3amper 7elt", 'ead", W 8ire"
Be&ore we get "tarted on ;ending and po"itioning the damper wire", "ome !omment" on &elt
)ariety and Duality are in order$ 8or+ing with good material and tool" i" alway" more "ati"&ying
than ha)ing to impro)i"e or &udge$
Trying to attain Duiet tri!hord damper" with poorly !ut &elt i" eAtremely di&&i!ult$ =n addition,
mi"drilled agra&&e" !an !au"e "tring" to ;e ;adly "pa!ed and not le)el, and thi" will lead to
"imilar &ru"tration"$ Ia+e "ure the "tring" are e)enly "pa!ed and le)el ;e&ore you "tart$ Gou will
need a "tringing hoo+ and a pair o& parallel plier" to !orre!t any pro;lem" in thi" area$ The
important thing i" to re!ogniBe where the &ault" lie ;e&ore di)ing in and ;ending, pu"hing, and
po+ing$ Thi" will only ma+e matter" wor"e$
1ele!ting &elt with the right ;alan!e o& &irmne"", re"ilien!e, and !ut i" o&ten the +ey in a!hie)ing
a good damper repla!ement >o;$ 4" you gain eAperien!e in wor+ing with damper" you will not
only ;e!ome pi!+y a;out "light tonal ;leed and &a"t "hutdown, ;ut you will "tart to ;e )ery
!on"!iou" a;out the damper "wi"h a" the pedal i" depre""ed$
3amper wedge &elt !an ;e pur!ha"ed with the grain running either )erti!ally or horiBontally$
There are ad)antage" and draw;a!+" to ;oth$ The horiBontal-grain &elt tend" to ;e &irmer, and i"
)ery dura;le, ;ut it will tend to "wi"h more with the u"e o& the pedal$ =t !an ;e !ut )ery
a!!urately and i" ea"y to wor+ with$ The )erti!al-grain )ariety tend" to ;e "o&ter, and a" a re"ult,
the "tring" tend to !ut into the &elt and the indent" tend to ;un!h up$ .&ten thi" !an lead to the
!enter "tring in the tri!hord" muting at a di&&erent time than the out"ide "tring"$ Thi" type o& &elt
tend" to ;e le"" dura;le o)er the long term$ The main ad)antage" areC
#$ (e"" "wi"hing noi"e with the damper pedal operation$
2$ Iore "u;tle re"ult" with hal&-peddling$ 9erti!al-grain &elt !an ;e u"e&ul in re!ording "tudio",
where the "wi"h !an ;e an irritant$ Generally it need" lot" o& trimming and &itting$
=n our "hop we u"e more Gamaha damper &elt than other ;rand"$ =t i" re"ilient, a!!urately !ut
and "ewn, and !ut" !leanly$ Renner &elt i" high Duality and "imilar to Gamaha$ (eading 4meri!an
piano ma+er" u"e good-Duality &elt, "ome ni!ely tapered uni!hord damper &elt, ;ut poor-Duality
!utting &or tri!hord &elt$ The "ewn &lat damper &elt Duality lea)e" a ;it to ;e de"ired$ (aoureuA
(7ran!e)C 4 "o&t )erti!al-grain &elt$ The tip" o& the tri!hord and ;i!hord wedge" are eA!e""i)ely
long, alway" need a lot o& !are&ul trimming to get good !learan!e &rom the "tring"$ =deally, the
length o& the tip" "hould ;e &lu"h with the ;ottom o& the "tring with the damper at re"t$ Iore on
that later$ 7or the right appli!ation it i" the &elt o& !hoi!e, ;ut not re!ommended &or a damper
no)i!e$
To repla!e the damper &elt, do not try to !ut or !hi"el the old &elt o&&$ The la"t thing that you
want i" to !hip the &lat "ur&a!e o& the damper head, "o "oa+ or "team the old &elt o&& and u"e a
good "harp "!raper to get down to the ;are wood$ Ju"t thin+ &or a momentC i& the "ur&a!e i"
une)en, how !an we eApe!t the &elt to re"t e)enly on the "tring"<
.n!e you ha)e the damper head" !lean and dry, re&it them into the piano ("ee Photo #)$ = ha)e
&ound thi" help&ul &or "e)eral rea"on"$ =t i" ea"y to "ee i& the head i" parallel with the "tring", the
le&t-to-right po"ition o& the damper head i" ea"ier to "ee with re"pe!t to the "tring", a" i" the
!learan!e o& the damper wire with ad>a!ent "tring"$ 7inally, it:" ea"y to "ee i& the ;ottom o& the
damper head i" parallel to the "tring" &rom &ront to ;a!+$ 8ith the damper wireJli&ter "!rew"
&inger tight, there i" no &elt to pull the head out o& po"ition$
Gou !an Dui!+ly get all the ;end" into the ;allpar+ and thi" will ma+e thing" a lot ea"ier later$
4" "hown in Photo 2, the ?tool" o& the trade@ &or damper regulation in!lude (&rom le&t to right) an
al!ohol lamp, a ;ridge pin in a pin )i"e, "han+-+nurling plier", parallel->aw plier", wire-;ending
plier", a 1purlo!+ &elt-!utting >ig with raBor +ni&e, and modi&ied needle-no"e plier"$
4tta!h a pie!e o& pin;lo!+ "to!+ to the "tret!her a" "hown in Photo 2, and ma+e your
!orre!ting ;end" a" ne!e""ary to ma+e the wire" parallel to the "ide" o& the head" and
perpendi!ular to the ;ottom" o& the head" ("ee Photo *)$
Pre)iou"ly, = mentioned the !on!ept o& ?di)ide and !onDuer$@ (et:" >u"t thin+, &or a moment,
how many &a!tor" !an !au"e the damper head to mo)e to the le&t or right o& !enter$
#$ Badly tra)eled underle)er" (already eliminated)$
2$ 8orn guide ;u"hing" (already eliminated)$
*$ =n!orre!tly po"itioned damper head (wire into head "hould ;e &lu"h and "e!ure in the "lot$) =&
the head and wire i" loo"e apply a little ;urnt "hella!$ Fow eliminated$
$ =n!orre!t wire ;end" a;o)e the guide rail$
,$ =n!orre!t wire ;end" ;elow the guide rail$
8hen repla!ing damper &elt, !ut the &elt to the original dimen"ion", unle"" you are "ure that
!hanging the length o& damper &elt will impro)e the operation$ 4" a "ide note, = "trongly
re!ommend the 1purlo!+ >ig in !om;ination with a good "harp utility +ni&e to produ!e
!on"i"tently "traight !ut", and dupli!ate the damper angle" ("ee Photo )$ Ta+e a pen!il and "!ri;e
a line down one "ide o& the rear o& the &elt, thi" will en"ure you will get the two pie!e" in "ame
alignment when gluing to the ;lo!+"$
Glue the pre!ut &elt to the ;lo!+ and ;e "paring with the glue$ Gently tap the end o& the &elt
with your &inger "o that it i" &lu"h with the damper head$ 1tro+e the "ide" o& the damper with your
&inger and thum; to en"ure the &elt i" parallel with the head$ Fow pre"" the &elt &irmly down onto
the head$ 8ith the tri!hord" and uni!hord", = li+e to "lide a /K ma!hini"t rule along the ;ottom o&
the 9 to ma+e "ure ;oth lo!+" are aligned$
%eep a damp !loth !lo"e at hand to +eep your &inger" !lean o& glue$ = li+e to glue on the &elt,
at the piano, and drop the damper wire into the li&t &lange, and "eat the &elt" into the "tring" a" =
pro!eed$
Fow e)erything i" wor+ing !orre!tly$ The po"itioning i" roughed in, "o we !an "tart to wor+
on ;ending the wire" to get tho"e "mooth )erti!al li&t"$
%eep the"e plane" &irmly &iAed in your mind$
#$ The damper head i" horiBontal$
2$ The damper wire, going through the ;u"hing i" per&e!tly plum; and )erti!al$ Fow it i" !lear
that the top ;end i" there to &iA the po"ition o& the damper head a;o)e the "tring"$
*$ The wire !oming out o& the li&ter i" plum; and )erti!al$ The dogleg ;end" in the lower wire
are there to )erti!ally !onne!t the damper head to the li&ting me!hani"m$
Ea!h time you ;end the wire, you are either mo)ing "omething out o& the )erti!al, or in the
!a"e o& the head, the horiBontal plane$ 4 "e!ond ;end mu"t ;e made to !ompen"ate to ;ring the
"y"tem ;a!+ into true$ The o;>e!ti)e i" to ;end the head to the le&t or right "o that the &elt !onta!t"
the "tring" e)enly, or you are mo)ing the two )erti!al plane" !lo"er or &urther apart to maintain
unimpeded, "mooth )erti!al li&t$
.n!e you ha)e a mind:" eye pi!ture o& what ea!h ;end i" u"ed &or, your thin+ing will ;e!ome
)ery "imple and !lear$ 1in!e there i" only $002K !learan!e in the guide rail ;u"hing, ()ery little
mo)ement) any "lowing down o& the mo)ement o& the damper wire i" an alarm ;ell warning you
that one o& the lower ;end" i" out o& the true )erti!al plane$
Chapter #2
3amper Timing

'ow important i" damper timing, and what are the related pro;lem"< 6nle"" there i" an
o;)iou"ly lea+y, or "low damper, do not eApe!t too mu!h help &rom the player in diagno"ing
tou!h and tone related pro;lem" that are !au"ed ;y damper"H a player may ;e aware that
"omething i" not wor+ing properly, ;ut ;e totally una;le to eAplain the pro;lem$ =t i", there&ore,
important &or u" to under"tand pro;lem" and !au"e" a" they in&luen!e the player$
'ere are >u"t a &ew typi!al !u"tomer !omplaint" that will help you to "tart to &orm a !he!+li"t
a" an aid to trou;le"hooting, ;oth the !u"tomer and the pianoC
S 8hen the damper" are timed too early, the tou!h i" hea)y, and la!+" !ontrolH the piani"t will
!omplain Duite o&ten that they !annot play the piano with !ontrol at the ppp dynami!$ 1top and
thin+ a;out it$ 8hen the damper" are "tarting to li&t a" "oon a" the +ey" are depre""ed, the player
ha" to o)er!ome the inertia o& the +ey" and the damper me!hani"m "imultaneou"ly$ Thi" will al"o
ma+e the ;a"" "e!tion &eel eAtremely hea)y and unre"pon"i)e$ 4nother !ommon !omplaint i" that
the tone i" muddy or un!lear$ 3amper" timed to li&t too early produ!e almo"t the "ame e&&e!t a"
hal& peddling, a )ery "light tonal ;leed &rom many "tring"$ The piano will lo"e it" !larity, and will
eAhi;it a "lower "hut down o& the "tring"$ Thi" will happen ;e!au"e the &ull weight o& the damper
and underle)er in motion will not wedge or "eat the &elt "nuggly onto the "tring"$
S 8hen the damper timing i" too late, the !enter "tring o& the wedge tri!hord" will ;e "lightly
muted !ompared to the outer "tring", ;e!au"e the tip" o& the wedge will not li&t high enough to
!lear the !enter "tring"$ Thi" !an !au"e the !enter "tring to "pea+ with a di&&erent )oi!e than the
outer two$ 4l"o !he!+ to ma+e "ure that the tip" o& the damper" are not too long, and are
!ompletely !learing the "tring" at &ull +ey dip$ =& the wedge" are too long, remo)e the a!tion$
Then ta+e a &ine pen!il and draw a line along the tip" o& the &elt, u"ing the under "ide o& the "tring
a" a guide$ Remo)e the damper" and !are&ully trim the tip" to length$ 9ery "harp "urgi!al "!i""or"
are a mu"t &or thi" ta"+$ Trim along the !enter o& your pen!iled line"$ 8hen you rein"tall the
damper", the tip" o& the wedge" "hould ;e a" nearly &lu"h with the ;ottom o& the "tring" a"
po""i;le$
The pro!e"" o& regulating damper" &all" into two ;a"i! pha"e"C ad>u"ting the li&t timing to the
+ey" and pedal, and ad>u"ting the tra)el ;y ;ending the wire"$ The"e pha"e" are, o& !our"e,
intera!ti)e$ The li&t timing !annot ;e "et until the tra)el i" ha" ;een ad>u"tedH and the tra)el
!annot ;e te"ted until the li&t timing ha" ;een "et$ 1ound &amiliar< =n Part" == and === o& thi"
"erie", we prepared the ;a!+a!tion and roughly ;ent the damper wire" ;e&ore the &elt wa"
in"talled$ =n thi" arti!le, = ha)e ;egun ;y de"!ri;ing the pro!edure &or "etting the li&t timing, ;ut i&
the tra)el i" not already !lo"e enough, you will ha)e to "+ip to the "e!ond "e!tion on wire
;ending &ir"t$
4d>u"ting the %ey (i&t Timing
3amper" !an ;e li&ted either indi)idually with the +ey", or all together with the damper
pedal$ Either way, the li&t "hould ;e uni&orm and timed properly$ =n order to a!!ompli"h thi", we
"tart ;y ad>u"ting the +ey li&t$ 6nderle)er" !ome in two "tyle"C tho"e with !ap"tan ad>u"tment and
tho"e without$ 4d>u"ting the +ey li&t timing i" the "ame with ;oth type"$
#$ 7ir"t rai"e the damper up"top rail a" high a" po""i;le$ Thi" will ena;le you to tra)el the
damper" through a greater di"tan!e, and ma+e error" ea"ier to "pot, a" well a" regulating a "a&ety
margin into your wor+$
2$ (ower the pedal rod dowel "o that the underle)er tray re"t" on the dag ;lo!+"$
*$ (oo"en all the damper wire "!rew" and !he!+ that the ;lo!+" "lide &reely up and down on all
the damper wire"$ (=& not re&er to Part" = and ===$)
$ .n the ;en!h, "et the underle)er timing >ig ("ee 7igure #) to the height o& the +ey end &elt"
("ee 7igure 2)$
,$ 8ith the timing >ig in pla!e under the underle)er" ("ee 7igure 2), lightly tighten the "!rew"
o& two end "ample natural +ey" in ea!h "e!tion$
/$ FeAt ad>u"t the pedal rod length, "o that the tray at re"t i" #J2K a;o)e the dag ;lo!+"$ Thi" will
en"ure enough tray !learan!e to pre)ent noi"e when peddling i" aggre""i)e$ =n the !a"e where the
pedal rod" are not ad>u"ta;le, "him the pad on the trap wor+ le)er a" reDuired, or repla!e the
leather$
0$ .n the hammer" o& the "ample note" &rom "tep ,, draw a horiBontal line 0J2K, or hal& the ;low
di"tan!e, down &rom the "tri+e point$ =n"ert the a!tion in the piano$ Che!+ to "ee that, a" the +ey
i" depre""ed, the damper >u"t "tart" to mo)e a" the pen!il line ;e!ome" parallel with the "tri+e
point o& the ad>a!ent hammer$ .& !our"e, ;e&ore u"ing thi" te"t o& the li&t timing, the ;low
di"tan!e and hammer line mu"t ;e "et !orre!tly$ =& the damper ;egin" to li&t at the wrong time
relati)e to the hammer li&t, read>u"t the underle)er timing >ig a!!ordingly, and go ;a!+ to "tep ,$
2$ 8hen the >ig ha" the proper height "etting, put it in pla!e under the underle)er" and ad>u"t
them all ;y hand-tightening the damper wire "!rew"$ Gou mu"t !he!+ that all the underle)er" are
&irmly in !onta!t with the >ig ;e&ore you "tart$ .n the one" that do not !onta!t the >ig, ;a!+ o&& the
!ap"tan" until they do$
There are "e)eral thing" to ;e aware o& while per&orming thi" ad>u"tmentC
S Be&ore tightening the damper wire "!rew", !he!+ to ;e "ure that the damper" re"t in their
?damping@ po"ition on the "tring"$ =& "ome are "u"pended a;o)e the "tring", !he!+ to ma+e "ure
that the damper wire" are not too long and ;ottom in the ;lo!+, a !ommon pro;lem on "ome
%orean in"trument"$
S Plu!+ ea!h "tring a" you pro!eed to ma+e "ure the damper i" "eating !orre!tly on e)ery
"tring$
S 3o not pre"" down on the damper head a" you are tightening the li&ter "!rew", "in!e thi" will
lead to ina!!ura!y in the ad>u"tment$
S Tightening the damper wire "!rew" with too mu!h pre""ure will &leA the damper wire and
al"o lead to error"$ 4 damper li&t >ig a" "hown, i" in)alua;le and )ery a!!urate &or thi" ta"+$
S 4lternating ;etween li&ting the underle)er lightly with your &inger, plu!+ing the "tring", and
lightly tapping down on the top o& the underle)er, li"tening &or the wooden !li!+ o& the
underle)er again"t the >ig, will help "et the height per&e!tly &or ea!h note$
Re!he!+ all the +ey" &or !on"i"tent li&t timing$ =& all the underle)er" are !orre!t and "ome
damper" appear to li&t late, the pro;lem will ;e in the +ey end &eltH indented &elt !au"e" late
damper li&t$ 6"ing an EAa!toR +ni&e, "li!e the li&ter &elt parallel to the +ey;ed$ Then glue in a
thin !ard or paper "him to in!rea"e the li&ter &elt height and !orre!t the timing$
1ometime" the depre""ion" in the &elt are !au"ed ;y !ompre""ion and not wear, and !an ;e
"teamed out$ Ta+e a damp !loth and u"e the tip o& a !lothe" iron to ?pop@ out the depre""ion"
!au"ed ;y the underle)er"$ 3ry iron a&ter to remo)e moi"ture and gain "ta;ility$ Gou will ;e
"urpri"ed how mu!h o& the une)en li&t pro;lem" will di"appear$
4d>u"ting the Pedal (i&t O 6nderle)er" 8ith Cap"tan"
4d>u"ting damper li&t "o that it i" uni&orm with all the +ey" i" no a""uran!e that the li&t will ;e
uni&orm when u"ing the damper pedal$ =n damper ;a!+a!tion" that ha)e !ap"tan ad>u"tment",
on!e the +ey li&t i" ad>u"ted, the pedal ad>u"tment i" relati)ely "impleC
#$ Roughly ad>u"t all o& the !ap"tan" &or a !learan!e o& #$,-2 mm ;etween the li&ter tray &elt and
the !ap"tan$
2$ .perate the damper peddle in a rapid &luttering motion to o;"er)e how well the damper li&t i"
"yn!hroniBed$
*$ Re&ine the !ap"tan ad>u"tment" to o;tain an e)en damper li&t$
=n "ummary, the under le)er height a;o)e the +ey;ed "et" the damper timing relati)e to the +ey
tra)elH the !ap"tan ad>u"tment "et" the e)enne"" o& pedal operation$
4d>u"ting the Pedal (i&t O 6nderle)er" 8ithout Cap"tan"
#$ Plea"e re!all in Part == we di"!u""ed that the underle)er li&t tray &elt "hould ;e glued only on
the ;a!+ edge$
2$ 8hile &luttering the damper pedal a" a;o)e, noti!e whi!h damper" li&t later than the other"$
*$ Pla!e paper or thin !ard;oard under the loo"e &ront edge o& the li&ter &elt on the late damper"$
$ =& the eAi"ting &elt i" well worn, thi" ad>u"tment !an ;e a !hore, "o !on"ider "a)ing your"el&
"ome time and repla!e the &elt$
7or high per&orman!e damper regulation, with or without !ap"tan", we will repeat thi" whole
pro!edure a&ter the !omplete regulation o& wire ;ending and "tring "eating$
Bending the 8ire" O The 6pper Bend"
The ;end" at Q# and Q2 ("ee 7igure *) ad>u"t the po"ition o& the damper head to the "tring"$ The
;end at Q2 mo)e" the damper head le&t and right, the ;end at Q# rotate" the damper head$ The"e
;end" are ;e"t done ;y holding the damper head with "mooth->awed parallel plier" while ;ending
with a pair o& ground down, long needle no"e plier"$ = ha)e ground the tip" o& the >aw" down to
#J#/K thi!+ and #J2K wide$ The long >aw" will ena;le you to "tay parallel to the damper head a"
you ma+e the ;end"$ =t i" important that the damper wire ;elow the ;end" ;e parallel to the "ide
o& the damper head$ The damper head !an ;e mo)ed to the le&t or right, and rotated, ;y
in!rea"ing or de!rea"ing the ;end" at Q# and Q2 until the damper head i" eAa!tly !entered on the
"tring"$
Remem;er, ea!h time you ma+e one ;end, an eDual ;ut oppo"ite ;end mu"t ;e made to +eep
the &lat "ide o& the head parallel to the length o& the wire$ Ea!h time you ma+e a "mall !orre!tion
o& the"e ;end", hold the &lat "ide o& the damper ;lo!+ &irmly on the "tret!her, and !he!+ that the
lower ;end" are parallel with the "tret!her ("ee Photo" 2 and * in !hapter *)$ Rein"tall the damper
and &inger tighten the "!rew, plu!+ the "tring", a!tuate the damper and re!he!+ "e)eral time"$
8hen all three "tring" "ound the "ame when plu!+ing, the damper head po"ition i" !orre!tly "et
to the "tring"$
The (ower Bend"
The"e ;end" (G and V in 7igure ) ad>u"t the alignment o& the damper wire" &rom the hole" in
the underle)er ;lo!+" to the damper guide rail ;u"hing"$ Bend V will ha)e a great e&&e!t on the &it
o& the wire in the ;lo!+, and ;end G will a&&e!t the tra)el o& the wire through the guide rail
;u"hing$ 4d>u"t the ;end V "o that the ;lo!+ i" &ree to tra)el up and down the damper wire when
the "!rew i" loo"e$ Remo)e the damper, and ad>u"t ;end G "o that wire "egment" B and C are
parallel$ 7inger tighten the "!rew$ Fow !he!+ that the wire i" tra)eling &reely through the guide
rail ;u"hing$ 7ine tune ;end" G and V until there i" !omplete &reedom o& operation, and the head
doe" not tra)el le&t or right when li&ted$
4ll &our ;end" in the damper wire are intera!ti)eH !hanging any one will reDuire read>u"ting
the other"$ 7ine damper regulating entail" repeating the wire ;ending "tep" o)er and o)er,
ma+ing &iner and &iner ad>u"tment", until the &un!tion o& e)ery damper i" uni&orm$
Fow rein"ert the underle)er height >ig, whi!h i" "till "et to !orre!t timing height, and &ully
tighten the damper wire "!rew" with the underle)er" re"ting on the >ig$ Tightening the "!rew" will
!au"e many o& the damper wire" to rotate in the ;lo!+", and the damper head" will twi"t a" they
li&t o&& the "tring"$ 6"ing a pair o& hea)y plier" to grip the damper wire a" it lea)e" the ;lo!+,
rotate the wire in the oppo"ite dire!tion or the damper head twi"t$ 1upport the ;lo!+ with your
other hand while rotating the wire to a)oid "tre""ing the underle)er !enter pin"$ %eep &luttering
the pedal a" you pro!eed to ma+e "ure there i" no rotational mo)ement o& the head"$ Re!he!+
pedal timing li&t, and ad>u"t a" reDuired$
7ront-to-Rear Timing (i&t
Fow i" the time to !he!+ that the &ront and the rear o& the damper" are li&ting o&& the "tring"
e)enly$ 4gain, rapidly &luttering the pedal will "how the "lighte"t di"!repan!y$ 6ne)en li&t !an ;e
!orre!ted in two way"C
S 'olding the damper head &irmly ;etween your thum; and &ore&inger, rai"e the damper head a
little and ;end ;a!+ or &orward in line with the "tring$ Thi" "hould ;e done with a light ro!+ing
motion, ta+ing great !are to not tip the head to the le&t or the right$
S Remo)e the damper, and lightly pla!e the &a!e o& the damper on the "tret!her$ Then "pring the
wire a little in the de"ired dire!tion$
= pre&er the "e!ond method "in!e it gi)e" ;etter !ontrol o& &ine ad>u"tment", ;ut = &reDuently
u"e the &ir"t method &or minor ad>u"tment" on routine "er)i!e !all"$
8hen all o& the a;o)e ad>u"tment" ha)e ;een made, it i" time to te"t the >o;$ 7lutter the pedal and
wat!h the damper" mo)eC they "hould all mo)e a" one$ The damper" at re"t on the "tring" "hould
;e e)enly "pa!ed$ 3epre"" the pedal &ully (the up"top rail i" "till "et high and will allow greater-
than-normal damper li&t)$ 4t the top o& the damper li&t, the damper head" "hould al"o ;e e)enly
"pa!ed$ Repeat ad>u"tment "tep" a" reDuired$
Chapter #*
3amper 6p"top Rail and 1o"tenuto
4d>u"ting the 3amper 6p"top Rail
8hen all the other damper ad>u"tment" are per&ormed to your "ati"&a!tion, it:" time to "et the
up"top rail "o that there i" #J#/@ or le"" o& &ree tra)el o& the damper head at a &irm &ull depre""ion
o& all +ey"$ Fothing i" more annoying to a piani"t than &eeling the ;ump to the ;a!+ o& the +ey on
a &orte ;low !au"ed ;y too high an up"top rail$ =& the rail i" too low, the a!tion will &eel ?"pongy$@
The piani"t will ha)e di&&i!ulty de"!ri;ing thi" pro;lem to you, "o ;e on your guard$ =t only ta+e"
a;out #0 minute" to ma+e the damper up"top ad>u"tment$
8ith the up"top rail in it" rai"ed po"ition, mea"ure how mu!h eA!e"" damper tra)el that you
ha)e on at lea"t two "ample note"$ Then mar+ a pen!il line on the ;elly rail at the top o& the rail
&or a guide ;ehind the damper wire" o& the "ample"$ (oo"en the up"top rail "!rew", and u"ing the
mar+" &or re&eren!e, lower the rail a little more than the mea"ured eA!e"" tra)el mea"urement$
Tighten the "!rew" "o there i" >u"t enough &ri!tion to hold the rail in po"ition, ;ut "o that it
!an ;e mo)ed with "light pre""ure$ Repla!e the a!tion and &irmly pre"" down on a hand&ul o&
+ey" in ea!h "e!tion (;ody weight)$ Thi" will !au"e the rail to "lide up with the &or!e o& the +ey"
li&ting the underle)er"$ Remo)e the a!tion and tighten "!rew"$ Re!he!+ with the a!tion in and
ad>u"t a" ne!e""ary$
1ide FoteC 1ome older model" o& Baldwin grand" ha)e pin" in"talled through the up"top rail
and into the ;elly rail, "o that the rail will not mo)e$ The"e pin" need to ;e remo)ed with a pair
o& needle no"e plier" ;e&ore the rail !an ;e ad>u"ted$ Gou will need a &la"hlight to &ind them$ Thi"
ad>u"tment i" pro;a;ly the mo"t negle!ted o& all regulation ad>u"tment", yet it ha" one o& the
mo"t nota;le e&&e!t" on the &eel o& the +ey;oard$ = ;elie)e that it i" important enough to !he!+
e)ery time a piano i" tuned$ =t only ta+e" "e!ond" to pre"" a &ew +ey" and li&t a damper to &eel &or
the !orre!t lo"t motion$ Thi" i" a good ha;it to "tart$
4d>u"ting the 1o"tenuto
There are "o many di&&erent "o"tenuto "y"tem", ea!h ha)ing it" own Duir+", that we !an only
di"!u"" the ad>u"tment pro!edure in general term"$ The Duality o& material" u"ed in the "o"tenuto
"y"tem will al"o )ary greatly &rom piano to piano$ 'owe)er, mo"t "o"tenuto ;ra!+et" ha)e "ome
+ind o& "!rew and "lot arrangement to ad>u"t the height o& the ;ra!+et", and are ea"y to ad>u"t$
4d>u"ting the &ront to rear di"tan!e i" another "tory$ 1ome ;ra!+et", in Baldwin piano" &or
in"tan!e, ha)e a "et"!rew ad>u"tment underneath$ =& there i" any dou;t o& the ;ra!+et type, it i"
worthwhile remo)ing a ;ra!+et to !he!+$ 4"ian piano" u"ually rely on ;ending the ;ra!+et to
ma+e thi" ad>u"tment$
1teinway ha" the "o"tenuto rod mounted on ;ra!+et" atta!hed to the a!tion "ta!+$ Thi" type
ha" "!rew" in "lot" to ad>u"t the rod &ront to rear, ;ut the ;ra!+et mu"t ;e ;ent to !orre!t the
height$ 8ith thi" arrangement the relation"hip o& the rod to the "o"tenuto ta;" i" not )i"i;le with
the a!tion in pla!e, "o a 1teinway gauge i" needed to ma+e an a!!urate ad>u"tment$ 1in!e the
po"ition o& the a!tion i" not determined ;y the dag ;lo!+", the !hee+ ;lo!+" mu"t ;e in pla!e to
!he!+ the ad>u"tment$
4nother type o& mounting "y"tem that i" )ery "olid ha" ;ra"" ;ra!+et" with a po"t threaded
dire!tly into ;elly rail$ Thi" arrangement i" &ound in "u!h piano" a" old Ia"on and 'amlin
grand"$ The only way to ad>u"t the"e i" to !ompletely remo)e the "o"tenuto rod and turn the po"t
in or out one !omplete re)olution$ The po"t" o& the"e ;ra!+et" u"ually ha)e a ma!hine thread, "o
one !omplete turn i" one millimeter or le""$ The height i" &a!tory "et, "o i& there i" a pro;lem with
the underle)er ;lo!+ height with re"pe!t to the "o"tenuto rod and damper timing, the thi!+ne"" o&
the damper tray &elt or +ey end &elt will ;e the !au"e o& pro;lem"$ = ha)e en!ountered pro;lem"
with thi" arrangement ;e!au"e "ome pre)iou" te!h ha" repla!ed the damper tray &elt, the +ey end
&elt, or the +ey&rame ;a!+rail &elt with the wrong material$
The !ommon &a!tor" o& all "y"tem" are a" &ollow", and they "hould ;e !ar)ed in "toneC
S The "o"tenuto rod ;lade mu"t ;e at , degree" at re"t$ =n thi" !on&iguration, the tip o& the
;lade will protrude no &arther than the ;ody o& the "o"tenuto rod$ Che!+ thi" with a "mall
ma!hini"t "et "Duare$
S The ;lade mu"t ;e horiBontal at &ull pedal depre""ion$
S The &ull tra)el o& the pedal "hould only mo)e the rod through , degree"$ 4gain you will &ind
a" many "tyle" o& pedal ad>u"tment" a" manu&a!turer"$ Thi" i" a part o& what ma+e" our !ra&t "o
intere"ting$ 1ome piano" ha)e a !ap"tan "!rew under the trapwor+ to limit the pedal tra)elH "ome
ha)e !ap"tan" or "him" under the "o"tenuto pitman$ Regardle"" o& the arrangement, the
ad>u"tment mu"t ;e made to e"ta;li"h the , degree" o& "o"tenuto rod rotation$ Che!+ the
!ondition o& the &elt in the pedal ;oA, "in!e ;adly worn &elt there !an ma+e the a;o)e parameter"
impo""i;le to a!hie)e$
The "o"tenuto pedal i" normally u"ed to hold the damper open on a "ingle note or group o&
note" in a pa""age o& mu"i!$ =t i" imperati)e that all part" mo)e &reely and Dui!+ly, "in!e it i"
needed to engage the ta; in a &ra!tion o& a "e!ond$ 1pe!ial attention to trap wor+ "pring" i" a
mu"t$
3iagno"ing 1o"tenuto Pro;lem"
#$ 9i"ually in"pe!t the "o"tenuto operation to en"ure rapid mo)ement o& the !omponent", and
the ,-degree rotation o& the "o"tenuto rod$
2$ =n"tall the a!tion and !hee+ ;lo!+"$
*$ Rapidly depre"" the pedal and loo+ &or any mo)ement o& the damper head"$ =& the rod i" >u"t
!lipping any o& the ta;" you will o;"er)e a "light damper ;lin+$ Iar+ the o&&ending damper
head" with !hal+$
$ 3epre"" the damper pedal &ull tra)el$
,$ Engage the "o"tenuto pedal$
/$ Relea"e the damper pedalH all damper" "hould "tay up in an e)en line$
0$ 1lowly relea"e the "o"tenuto pedal$ =n a per&e!t world all damper" will drop "imultaneou"ly
when the pedal ha" ;een relea"ed hal& way$ 4ttaining thi" per&e!tion ta+e" time$
2$ Pre"" the "o"tenuto pedal &ollowed ;y the damper pedal$ Then relea"e the damper pedal only,
and !he!+ that no damper" are hanging up$ Thi" !he!+ing i" to en"ure that all ta;" are "tri+ing the
under "ide o& the rod and the ta; "pring" are wor+ing$
Corre!ting 1o"tenuto Pro;lem"
S Che!+ to "ee that all ta;" are in a "traight line u"ing a "traight edge$ =& they are not, &ir"t !he!+
to "ee that the underle)er" are le)el and timed !orre!tlyH "ee a;o)e to !orre!t underle)er
alignment$
S =& the underle)er" are !orre!t and there are ta;" out o& line, the height o& the indi)idual ta;"
mu"t ;e !hanged$ To lower a ta;, tra)el paper i" in"erted on the top o& the ta; to ;ring it into line$
To rai"e the ta;, u"e a "harp raBor +ni&e to "li!e a thin "li)er o& &elt o&& the ta; "top &elt$
S =& any ta;" are too &ar &orward or ;a!+, re!he!+ the wire ;endingH in mo"t !a"e" re;ending the
wire will "ol)e the pro;lem$
S 4 ta; that i" too long !an ;e "anded ;a!+ into lineH a "hort ta; need" to ;e repla!ed$
S Bending the wire a little &orward a" it lea)e" the underle)er ;lo!+ i" a 7udge 7a!tor #0#
option, ;ut the timing and !omplete damper operation ha" to ;e re!he!+ed$
4d>u"t the height o& the ;lade to ;e in line with the !enterline o& the ta; tip" with the damper
pedal depre""ed$ 4d>u"t the &ront to rear ad>u"tment &or #$,-2mm !learan!e &rom the tip o& the
;lade to the tip o& the ta;$
Chapter #
3amper Tool" W Jig"
=n pre)iou" !hapter", = ha)e mentioned "e)eral tool" and >ig" that &a!ilitate the in"tallation
and regulation o& grand damper"$ =n thi" !hapter we will di"!u"" the"e de)i!e" in more detail, "o
that tho"e who wi"h to try the method" outlined here !an do "o with the proper eDuipment$
=n"talling and regulating damper" "o that they loo+ and re"pond li+e a &a!tory >o; i" all ;ut
impo""i;le without the aid o& good tool" and >ig"$
Io"t produ!tion &a!ilitie" ha)e dedi!ated tool" and >ig" &or the"e purpo"e", "o that "emi-
"+illed wor+er" !an per&orm di&&i!ult ta"+" with pre!i"ion and !on"i"ten!y$ .&ten the"e &a!tory
>ig" are made to ;e "pe!i&i! &or a parti!ular ma+e and model o& piano$ .ur !hallenge i" to adapt
the"e tool" "o that they will produ!e the "ame re"ult" on a wide )ariety o& piano"$ 8ith thi" in
mind, the tool" and >ig" li"ted ;elow are my own )ariant" o& what = ha)e "een u"ed in &a!torie"$
3amper Timing Jig
The purpo"e o& thi" >ig i" to "et the ;ottom o& the underle)er" in a per&e!t line and at the
!orre!t height to &a!ilitate note-to-note !on"i"ten!y in timing a" the damper" are li&ted
indi)idually ;y the +ey" at the hal&-way point o& the +ey dip$ Thi" >ig !an ;e made )ery Dui!+ly
with a good ta;le "aw and drill pre"" ("ee 7igure #)$ 4 "mall ;u;;le le)el glued to the dowel with
epoAy or gap-&illing C4 glue i" a u"e&ul addition i& you do a lot o& damper wor+$ The only !riti!al
dimen"ion on the >ig i" the one-eighth in!h thi!+ne"" o& the lipH "in!e mo"t grand +ey tail" li&t
)ery !lo"e to one-Duarter in!h, the one-eighth in!h thi!+ne"" o& the lip will automati!ally "et the
damper" to ;egin li&ting at one-hal& o& the +ey dip$
8ith the a!tion on the wor+;en!h, = ad>u"t the "!rew &eet "o the lower "ide o& the lip >u"t
!ome" in !onta!t with the damper li&t &elt at the end o& the +ey$ Then, mo)ing the >ig underneath
the underle)er", = ad>u"t the height o& the two end underle)er" o& a "e!tion a" "ample"$ Che!+ the
"ample" ;y "liding in the a!tion, and ma+e any minor !orre!tion" to the >ig "etting" i& ne!e""ary$
Then pro!eed to "et the height o& the re"t o& the underle)er" in the "e!tion$
.n "ome %orean piano" that ha)e ad>u"ta;le li&ter "poon" on the end" o& the underle)er", =
u"e a two-"tep pro!edureC
S 1et all ;ottom" o& the underle)er" to a uni&orm height with the >ig$ The eAa!t height i" not
important a" long a" it i" within the wor+a;le range$
S Then on the ;en!h re"et the >ig to the +ey li&t &elt$ 7inally, mo)e the >ig ;a!+ into the piano
under the "poon" and ;end the "poon" to the height o& the >ig "hel&$ Thi" will en"ure that all the
"poon" are mating with the +ey end &elt at a !on"i"tent angle$
3amper 8ire Bending Jig
Thi" de)i!e i" ea"y to ma+e out o& three-eighth" in!h maple "to!+ and hal&-in!h high-den"ity
&i;er;oard ("ee 7igure 2)$ Tape the >ig to the "tret!her a" "hown in Chapter ##$ 8ith the damper
head laid &lat on top o& the >ig and aligned with line 4, line" B and C mar+ the po"ition" o& the
two o&&"et ;end" on the damper wire$ (ine B mar+" ;end G de"!ri;ed in Part =9, 7igure , and
line C mar+" ;end V$ 8ith the damper head laid )erti!ally on the top o& the >ig, the wire may ;e
;ent perpendi!ular ;y re&eren!e to line 3$
Thi" >ig dou;le" a" a ;en!h hammer line >ig$ Ju"t u"e it up"ide down and eye;all the hammer
line with the top o& the ;oard$
Feedle Fo"e Top Bend Plier"
The"e plier" are u"ed to ma+e the ;end" la;eled Q# and Q2 in Part =9, 7igure *$ 1tarting with a
pair o& ele!troni! te!hni!ian:" long-no"e plier", grind the tip" to *J*2K thi!+ A #J2K wide ("ee
7igure *)$ 8ith the damper head held &irmly in "mooth->awed parallel plier", the upper ;end" o&
the damper wire are ea"y to ma+e$
6nderle)er (ead Crimping Plier"
6"ing the"e !u"tom made plier" ("ee 7igure ), a !omplete "et o& underle)er lead" !an ;e
!rimped within an hour$ The lead" !an ;e !rimped without remo)ing the damper" or underle)er"$
The tool i" made &rom a pair o& Gamaha ele!tri! "han+ ;ending plier"$
Remo)e the element" &rom the "to!+ plier", and grind down the head o& the >aw", "o that you
end up with two one-eighth in!h thi!+ tongue" eAtending upward one-&ourth in!h, "imilar to the
>aw" o& a pair o& Renner grand +ey ea"ing plier"$ 3rill a hole on the in"ide o& ea!h tongue to
a!!ept a *J*2K Phillip" round head ma!hine "!rew$ The three line" "!ored on the top o& the >aw"
re&eren!e the depth that the >aw" mu"t ;e in"erted to !rimp lead" in three po"ition" !ommon to
many ma+e" o& piano"$
E)en when underle)er lead" are not a!ti)ely !li!+ing, they !an !ontri;ute "u;tle noi"e to the
tone o& a piano that we o&ten di"mi"" a" ?a!tion noi"e$@ = am !ontinually amaBed at how mu!h the
tone o& many piano" !an ;e !leaned up ;y "imply "DueeBing the lead"$ 4&ter ;uying the plier",
and paying the ma!hini"t, the"e are ea"ily the mo"t eApen"i)e pair o& plier" that = own, ;ut they
ha)e paid &or them"el)e" many time" o)er$
Chapter #,
9oi!ing
Io"t teAt" that di"!u"" )oi!ing piano" open with a "tatement "u!h a" the &ollowingC ?The
piano "hould &ir"t ;e &inely regulated and well tuned$@ 7ar ;e it &rom me to argue with thi"
trui"m O at lea"t "o early in thi" arti!le$ 'owe)er, the "tatement i" o)erly "impli"ti!H there are
Duite a &ew other thing" that need to ;e !he!+ed and addre""ed, ;e&ore the )oi!ing tool" !ome out
o& the tool;oA$ =n &a!t, many o& the &ollowing item" "hould ;e done ;e&ore tuning, "in!e they
ha)e a great impa!t on the a;ility o& the piano to a!!ept a Duality tuning$
7reDuently we hear !omplaint" a;out i"olated note" that "pea+ with a di&&erent )oi!e than other
note" within the "ame regi"ter, or a;out a parti!ular regi"ter that doe" not ;alan!e with the re"t o&
the piano$
There are many &a!tor" other than hammer )oi!ing that !an !ontri;ute to the"e !ondition"$
Power lo"", and low "u"tain !an ;e !au"ed ;y loo"e ;ridge pin"H &aulty "tring termination !an add
unwanted noi"e", metalli! rattle", &al"e ;eat", and many other maladie"$ The +ey to any good
per&orman!e preparation i" to identi&y whi!h pro;lem" are hammer related, and whi!h are
me!hani!ally related, and re!ti&ying the pro;lem" ;e&ore pro!eeding$
= would li+e to "hare my !olle!tion o& eAperien!e" that ha" e)ol)ed into a !he!+li"t, with
remedie" that are done prior to re"orting to any )oi!ing te!hniDue"$
Iany "uppo"ed )oi!ing pro;lem" !an ;e tra!ed ;a!+ to "e)eral "our!e"C
S 'ammer &lange" poorly pinnedH hammer" that are poorly &it to the "tring", andJor ;adly
"haped, !au"ing ;eat" &rom poor "tring pha"ing$
S Ie!hani!al ine&&i!ien!ie" that are a""o!iated with the "tring" and their termination point"$
S (a!+ o& !rown in the "ound;oard, or ;ridge &ailure re"ulting in wea+ tone and poor "u"tain$
=t i" prudent to !he!+ &or !rown on the ;oard with the ;a"i! "tring te"t, and ;earing o)er the
;ridge with a ;earing gauge, ;e&ore wa"ting many hour" trying to a!hie)e a per&orman!e
regulation and )oi!ing$
3ou;le !he!+ the regulation and Due"tion how e&&i!iently the a!tion will tran"&er energy &rom
the +ey to the hammer" and "tring"$ (et o&& and +ey &rame ;edding are high on the li"t a" ma>or
"our!e" o& energy lo""$ Con"i"tent a!tion re"pon"e &rom note to note i" e""ential$ .n!e one
;egin" to "ee the intera!ti)e nature o& all a"pe!t" o& piano wor+, there i" no turning ;a!+C read on
and you will "oon "tart thin+ing in term" o& intera!ti)e regulation and )oi!ing$
'ammer 7lange Pinning
(et u" "tart ;y eAamining poor !enter pinning in the hammer &lange$ The "tandard &ield te"t i" to
loo+ &or -, "wing" o& the hammer, or gm o& &ri!tion a" mea"ured with a "pring gauge ("ee
7igure" # and 2)$ 8ith pra!ti!e hammer &lange pinning tightne"" !an ;e te"ted aurally$ (ong
;e&ore the !hara!teri"ti! ?woody@ !li!+ !au"ed ;y loo"e pinning, you !an hear a lo"" o& power
and a "igni&i!ant drop in "u"tain$ = &eel "o "trongly a;out hammer &lange pinning that on ma>or
regulation and )oi!ing >o;", = Dui!+ly remo)e all tre;le hammer "han+" and !he!+ ea!h &lange$
Thi" te"t u"ually re"ult" in lot" o& repinning, "o do your"el& a &a)or and get a "et o& 3on
Iannino:" reaming and ;urni"hing tool"$ They will help you per&orm thi" ta"+ Dui!+ly and
a!!urately$ Ta;le # "how" how pinning tightne"" and hammerJ"tring &it a&&e!t the amplitude and
"u"tain o& the &ir"t &our partial" o& B,$
The re"ult" were o;tained u"ing a Rey;urn Cy;erTuner PianalyBerR and an eAternal
mi!rophone pla!ed 2 in$ &rom the ;ridge pin"$ 4 !on"tant )elo!ity drop weight de)i!e wa" u"ed
to "tri+e the +ey and &i)e "ample" were ta+en and a)eraged &or ea!h te"t$ =n the &ir"t te"t the
hammer &lange wa" loo"e and allowed #0 "wing" o& the hammer$ =n the "e!ond te"t the !enter
wa" repinned to allow >u"t &our "wing"$ =n the third te"t the &our-"wing hammer wa" !orre!tly &it
to the "tring"$
Ta;le # "how" how the tone Duality o& a note !an ;e !hanged without u"ing any traditional
)oi!ing te!hniDue"$ =n thi" !a"e the &it o& the hammer to the "tring "eemed &ine with the loo"e
pinning, ;ut repinning !hanged it a little$ .n!e &ri!tion de!rea"e" ;eyond a !ertain point, the
+nu!+le tend" to ;oun!e on the repetition le)er on the upward "tro+e, di""ipating mu!h o& it"
energy within the &lange ;u"hing and at the +nu!+leJrepetition le)er !onta!t point$ 8hen the
pinning i" loo"e enough to allow more than , "wing", the tra)el o& the hammer and "han+
;e!ome mu!h more errati! and !au"e a larger )ariation in the te"t re"ult"$
'ere i" a Dui!+ te"t o& the tightne"" and !on"i"ten!y o& the hammer &lange pinningC
#$ 'olding the a!tion up"ide down with the hammer" toward the &loor, ro!+ the a!tion &rame
with your +nee", and o;"er)e the "winging hammer"$ The loo"e or tight one" will ;e o;)iou"$ =&
the Duality o& pinning i" eA!ellent, the hammer" will "wing )ery ni!ely in uni"on$
2$ 8ith the a!tion upright, ;alan!e the +ey&rame at the ;alan!e rail on the &ront edge o& the
+ey;ed$ 1lowly depre"" the +ey", >u"t &irmly enough &or the hammer" to go into !he!+$ .;"er)e
the &light o& the hammer"C the "ame +ey pre""ure will ma+e the loo"e hammer &lange" tra)el
mu!h &urther in height than the !orre!tly pinned &lange"$ Gou will al"o noti!e mu!h more ;oun!e
a" the "han+ return" to the re"t &elt$ By u"ing one hand to depre"" a group o& natural", and the
other hand on a group o& "harp", you will "oon get the &eel and "ight o& poor !enter pin"$
Center pinning in the tre;le "e!tion o& the piano i" !riti!al &or note-to-note !on"i"ten!y$ Thi"
regi"ter lea)e" )ery little room &or error"$ =t i" a hea)ily u"ed part o& the +ey;oard, and mo"t
melodie" are played there, "o pro;lem" "oon ;e!ome )ery noti!ea;le$ 6nle"" pinning i"
addre""ed, &ine )oi!ing i" all ;ut impo""i;le$ Piani"t" will !omplain o& ha)ing !ontrol di&&i!ultie"
when tonally "hading a pa""age$ Traditional )oi!ing te!hniDue" will not "ol)e the pro;lemH in
&a!t it will u"ually ma+e matter" wor"e$
1o ta+e my ad)i!eC !he!+, !he!+, and !he!+ again ;e&ore pro!eeding$ =n ?=ntera!ti)e Grand
Regulation@ we "tre""ed the importan!e o& pinning and how it a&&e!t" let o&&, repetition, hammer
ri"e, and !he!+ing, and how intera!ti)e they all are$ Fow add intera!ti)e )oi!ing to the li"t$
FeAt time you need to repin a &lange, ma+e a point o& li"tening !are&ully to the tone and the
"u"tain ;e&ore and a&ter pinning, and !ompare with ad>a!ent note"$ 3o not ;e "urpri"ed i& you
now &eel the need to repin the good note$ Ta+e heart, a" thi" will "tart you on the tre+ to a
di&&erent +ind o& li"tening$ 1oon you will ;e a;le to tell the di&&eren!e aurally$
4&ter !enter pinning, you will need to go ;a!+ and re!he!+ all regulation parameter",
e"pe!ially let o&&, drop, and repetition "pring ten"ion$ 3on:t ;e "urpri"ed i& repinning !au"e" the
hammer to ;lo!+, drop di"appear", or
7orward 3upleA 4rea
.)er time and with &reDuent tuning", a tre;le "tring !an "tart to wear groo)e" in the !apo and
!ounter-;earing ;ar"$ 8hen the groo)e" get deep enough, the "tring "tart" to rattle around in"ide
the"e groo)e" !au"ing what we a&&e!tionately !all 9-;ar or !apo noi"e$ The "iBBling "ound i"
o&ten a!!ompanied ;y a !ertain amount o& &al"e ;eating$ By pla!ing a &inger on the &orward
dupleA "e!tion, the noi"e !an ;e de!rea"ed or eliminated, ;ut the note i" deadened, and the
"u"tain i" )ery "hort$ Feedling the hammer may ma"+ "ome o& the pro;lem, ;ut a" &ar a" "inging
tone and power are !on!erned, needling will ma+e matter" wor"e, not ;etter$ The &inger te"t i"
ideal to identi&y the "our!e o& the pro;lem$ Ta+e a ;lunt "!rewdri)er and mo)e the "tring out o&
the groo)e$ =& mo)ing the "tring eliminate" the "iBBle, thi" will ;e !on!lu"i)e proo& that the "tring
groo)e wa" the !au"e o& noi"e and tonal lo""$
There are "e)eral remedie" &or "tring noi"e in the &orward dupleA area li"ted in order o&
e&&e!ti)ene""C
#$ 3rop the ten"ion o& "iA "tring" at a time and &eed plum;er" emery tape with the grit "ide up
;etween the "tring" and the !apo ;ar, then "hoe-"hine the ;ar &rom the top to remo)e the groo)e"
("ee 7igure #)$ 4l"o remo)e the groo)e" &rom the !ounter-;earing ;ar$ (u;ri!ate the ;ar" with
para&&in waA and re-ten"ion the "tring"$ The para&&in will greatly impro)e "tring rendering and
ma+e tuning mu!h ea"ier$ .n a per&orman!e piano that i" tuned &reDuently, thi" "hould pro;a;ly
;e done a&ter a;out &i)e to "iA year" along with re"tringing the tre;le "e!tion$ = !on"ider thi" the
only la"ting treatment$ 'owe)er, many !u"tomer" will not pay the pri!e &or the &ull treatment$
2$ Io)e the "tring le&t and right with a ;lunt "!rewdri)er, out and o)er the groo)e$ Thi" will
;urni"h the !orner" o&& the groo)e and redu!e the noi"e$ Rarely ha)e = ;ro+en a "tring, ;ut ;e
prepared ;e!au"e it doe" happen$ =& the !u"tomer i" not willing to do the pro!edure a;o)e, then
heJ"he i" &a!ed with either li)ing with the noi"e or a!!epting the ri"+ o& "tring ;rea+age$ = re"er)e
thi" "!rewdri)er te!hniDue &or a &ew i"olated "tring"$
*$ 4nother method to a!hie)e the "ame re"ult, i" to u"e a "tring "pa!er, >u"t ;ehind the !apo ;ar,
wor+ing upward &rom in"ide the a!tion !a)ity$ Tap the "ide o& the "tring "pa!er with a "mall
hammer to pu"h all three "tring" o& a uni"on out o& the groo)e", &ir"t le&t and then right$ = u"ually
do thi" two or three time" in ea!h dire!tion$ =t will ;urni"h the edge" o&& the groo)e" Duite ni!ely$
Thi" !an ;e u"ed to Dui!+ly !lean up a whole "e!tion in #0 to #, minute" wor+, and ;e a huge
impro)ement$ CautionC do not try thi" on the day o& a !on!ert, it !an ha)e a ;ig e&&e!t on tuning
"ta;ility$
$ Thi" i" a relati)ely low-!o"t treatment, &or a "igni&i!ant gainC put a little da; o& white glue on
the &orward dupleA "e!tion o& a "tring to Duiet the noi"e$ There will ;e no gain in power or
"u"tain, ;ut it will ma"+ the noi"e$ Re"er)e thi" &or i"olated "tring", or a Dui!+ temporary &iA$
Thi" i" a good remedy &or "tage piano", "in!e it will not de"ta;iliBe the tuning$
= &reDuently run a!ro"" piano" with the &orward dupleA taped o&&$ To me thi" i" an a;"olute
no-no$ Taping treat" the "ymptom and not the pro;lem$ =t ro;" the piano o& mu!h o& it" power,
"u"tain, and !olor, and i" a !lear "ignature o& an amateur te!hni!ian$
Bridge", Pin" W Thing"
Thi" i" o&ten an area o& greater lo""e", power, and "u"tain than the &orward dupleA$ The
;ridge i" al"o the primary !au"e o& &al"e ;eat", and the !ondition o& the ;ridge al"o ha" a ;ig
e&&e!t on tuning "ta;ility$ (oo"e ;ridge pin" are the prime o&&ender"H not >u"t the pin" with
o;)iou" !ra!+" around them, ;ut al"o pin" that loo+ per&e!t to the na+ed eye, ;ut are loo"e
ne)erthele""$
To te"t &or loo"e ;ridge pin", &ind a wea+ and &al"e "tring, ta+e a large ;lunt "!rewdri)er,
pre"" &irmly down on the ;ridge pin, and play the note ("ee 7igure 2)$ =& there i" a ;ig
impro)ement in power, "u"tain, and !leanline"" o& tone, that i" a good indi!ation that the pin i"
loo"e$
There are "e)eral po""i;le "olution" to the pro;lemC
S Tap the ;ridge pin with a pun!h$ (= ha)e a made a "pe!ial ;ra"" "et pun!h dedi!ated to thi"
ta"+$) .n mo"t piano", thi" i" temporary &iA at ;e"t$ =& the pin wa" loo"e, a &ew ma>or humidity
"wing" will !au"e the pro;lem to return$ .n "ome older piano", year" o& tuning !an !au"e the
"tring to wear a groo)e into the "ide o& the ;ridge pin$ The groo)e !an allow the "tring to ride up
o&& the ;ridge$ Tapping the pin will drag the "tring down onto the ;ridge and mo)e it out o& the
groo)e$ 8ith the "tring in !onta!t with the ;ridge, &al"ene"" !an !lear up, and power and "u"tain
!an impro)e$ =& the pin wa" groo)ed and it mo)ed down a little, the &iA may ;e "emi-permanent$
=n new piano", where the pin wa" not "eated at the ;ottom o& the hole, it !an al"o ;e a "emi-
permanent &iA$
S =deally, drop the ten"ion and mo)e the "tring out o& the way$ Remo)e the ;ridge pin and
"wa; the hole with C4 glue or &i)e-minute epoAy$ 'eating the epoAy with a hair drier will ma+e
it run li+e water$ Rein"tall the pin and ;ring the "tring ;a!+ up to ten"ion$ Thi" i" a mu!h more
permanent "olution$ =n "ome !ir!le" epoAy or C4 glue treatment o& ;ridge pin" i" )iewed with
"ome !ontro)er"y$ Good >udgment need" to ;e u"ed to determine whether thi" i" a proper repair
&or a parti!ular piano$ = per"onally ha)e no pro;lem with either o& the a;o)e "olution", ;ut = do
ha)e a pro;lem with lea)ing &al"e ;eat" that !an ;e ea"ily !ured or minimiBed$ To me, it i" a
repaira;le &ault >u"t li+e a "ti!+y +ey, and it need" attention$
S 8hen re!apping a ;ridge or otherwi"e in"talling new ;ridge pin", = am in the ha;it o& u"ing
C4 glue a" a dri)ing &luid$ Early indi!ation" ha)e "hown thi" to impro)e ;oth power and "u"tain$
= ;elie)e the glue &orm" a ;arrier that prote!t" the hole and pin &rom the ra)age" o& humidity
"wing"$ CautionC two drop" per pin &rom a "mall hypo are all it ta+e"$ Ie!hani!al "e!urity o& all
the !omponent part" o& the ;ridge i" !riti!al, "o !he!+ )ery !are&ully$
1tring Contamination
The "tring" need to ;e !lean and &ree &rom ru"t and !ontamination$ = &a)or two method" o&
!leaning$ (ight !leaningC 6"e a white 1!ot!h-BriteR pad and ;urni"h the "tring"$ 7or a more
aggre""i)e !lean up, u"e a "tring era"er$ 8ith a "harp +ni&e &orm a !hi"el point on one end o& the
era"er, and wedge it ;etween the "tring" to get mo"t o& the !orro"ion and dirt &rom the "ide" and
under"ide" o& the "tring"$ 6"e the "Duared o&& end to ;urni"h the top "ide o& the "tring"$
Remem;er "tring" need to ;e !lean to "ound !lean$
(i&t W 1eat 4ll 1tring"
4&ter all ;ridge wor+ ha" ;een !ompleted, to ma+e "ure all "tring" are ni!ely "eated, = &ind
that ;urni"hing the "tring" down to the ;ridge with a hammer "han+ at the angle o& the ;ridge
pin" will "ettle the "tring ni!ely$ Fot a lot o& pre""ure i" needed, "o pro!eed with !aution, and
+eep li"tening &or re"ult"$ .n new and re"trung piano", it "eem" that pulling the tuning #0 !ent"
"harp, then ;urni"hing all length", will gi)e a little eAtra tuning "ta;ility, and drop the "tring"
;a!+ to pit!h$ =t help" &orm a more "ta;le !ur)e to the "tring" around the ;ridge pin" and gi)e" a
tighter me!hani!al !onne!tion$ (ightly doe" it$
4t the &orward end, ;urni"hing with a hammer "han+ &rom in"ide the a!tion !a)ity gi)e"
eA!ellent re"ult"$ 4t the agra&&e end, ma""age with a "tringing hoo+, "o the "tring i" &leAed
upward >u"t a little$ Thi" will gi)e the "tring a "olid me!hani!al !onne!tion to the agra&&e$
(i&t all "tring"$ (i&ting all "tring" at the &orward termination point" will help !ontrol the
amount o& lea+age pa"t the termination point$ Ju"t enough li&t to &leA the "tring i" all that i"
needed, remem;er you are not trying to ;end the wire$ (ightly "tro+e ;a!+ and &orth a &ew time"
with the "tringing hoo+ u"ing a little upward" pre""ure$
'ammer to 1tring Iating
Being o;"er)ant !an yield many !lue"$ 4re the hammer" e)enly "pa!ed< 4re there any
hammer" !learly leaning to the le&t or right with re"pe!t to their neigh;or"< 4re all hammer"
!orre!tly tra)eled< =n order to thoroughly e)aluate piano tone, ear", eye", and ;rain mu"t all ;e
in good operating !ondition$
'ere i" a "tandard !he!+li"t &or hammerJ"tring &un!tionC
#$ 'ammer tra)el$ =t i" important that the hammer tra)el" in a "traight )erti!al line to tran"&er
the maAimum amount o& energy to ea!h o& the "tring"$ 4&ter tra)eling "ome hammer "han+",
;urn-in may ;e reDuired to !orre!t the !hange"$ Thi" en"ure" that the hammer i" tra)eling in a"
"traight a line a" po""i;le$ =& more than a &ew degree" o& "han+ ;urn-in i" needed, pull the
hammer and reglue it$ =t will >u"t wander ;a!+ with a &ew humidity "wing" i& you don:t$
2$ 'ammer "hape at the "tri+e point$ Re"ting a "traight edge a!ro"" the "tri+e point" will "how
the poorly "haped hammer", a" will loo+ing at the "tring groo)e" on the hammer "ur&a!e$
Re"hape the hammer" to !orre!t$ To &ully !he!+ hammer-to-"tring &itting, = u"e a thi!+ "trip o&
!loth re"ting ;etween the >a!+" and the +nu!+le", "lowly pre""ing the note will !au"e the hammer
to ;lo!+ again"t the "tring"$ 1in!e the damper i" rai"ed, the "tring" !an ;e plu!+ed to !he!+ &or
&itting$ 6"e a "harp pen!il to mar+ the muted "tring" o& a uni"on, it will "a)e a lot o& time "liding
the a!tion in and out o& the drawer$ Then >u"t &ile o&& your pen!il line"$ 1imultaneou"ly, = al"o
!he!+ &or "tring le)el, and determine i& &it or le)el i" the pro;lem$
*$ 1tring le)eling$ Great !are "hould ;e u"ed with the "tringing hoo+$ Ia""aging the "tring"
into po"ition will gi)e ;etter re"ult" than >u"t pulling upward, aggre""i)e pulling on the "tring
with a hoo+ !an ma+e matter" wor"e, not ;etter$ Joe Go"", o& Iother Goo"e Tool"R, ma+e" a
neat le)el gauge$ 6"ing the gauge to attain le)el "tring", = remo)e the a!tion, prop the damper
pedal down, and ma""age the "tring" with a hammer "han+ &rom in"ide the a!tion !a)ity a" =
plu!+$ =t i" a Dui!+ and e&&e!ti)e way o& doing thi" ta"+$
4ny o& the a;o)e maladie" will !reate pha"ing pro;lem" ;etween the "tring" o& a uni"on$ The
&ir"t "tru!+ "tring will "ound at a mu!h louder )olume and gi)e a !ompletely di&&erent partial
"pe!trum than the la"t$
=& all o& the a;o)e "tep" are per&ormed !orre!tly, le"" time with needle" and hardener" will ;e
ne!e""ary, and traditional )oi!ing method" will produ!e ;etter, more "ta;le re"ult"$
1ummary
'ere i" my &a"t !he!+li"t to prepare a piano &or )oi!ingC
#$ Tap all ;ridge pin" with pin pun!h or hammer "han+$ 4 light tap with -oB hammer i" all it
ta+e"$
2$ Ia""age all "tring" with a hammer "han+ on the "pea+ing and dupleA "ide o& the ;ridge pin"$
*$ E)aluate &orward dupleA termination noi"e and !orre!t any pro;lem"$
$ (i&t all "tring"$
,$ (e)el all "tring"$
/$ Che!+ !enter pinning$
0$ Che!+ +ey&rame ;edding$
2$ Che!+ regulation O parti!ularly the relation"hip" ;etween the +nu!+le, the repetition le)er,
and the >a!+$
5$ Iate hammer" to "tring"$
#0$ 7ine tune, li"tening !are&ully &or any "ign" o& &al"ene"", or "trange noi"e"$ Clean up a" you
go$
=& you &ollow thi" pro!edure, you will ;e "urpri"ed how !lean the piano will "ound, and how
mu!h ea"ier the tuning will ;e!ome$ (et:" &a!e itC who en>oy" tuning or playing a piano that i"
&ull o& &al"e tone"< 4" an added ;onu", with all termination point" "olid, tuning will la"t longer$
Gou will al"o &ind that the amount o& hammer !rown )oi!ing needed to remo)e unwanted noi"e"
will ;e redu!ed$