Grand Regulation In Detail - part 11

32) The Blow

Step no12 was adjusting the key height and leveling all 88 keys. Last month we discussed step no31, regulating the jack height. These are the only steps that directly affect the blow distance, or hammer line. Indirectly the repetition springs will also affect the hammer line if the springs are weak. However, we had to make sure the springs were strong enough to support the hammers before the jack height was set. Therefore, we should now be ready to set the hammer blow distance.

Once set, there should be no need in doubling back to readjust this distance. Remember that before all of the jack heights were set, a number of sample keys were regulated for jack height, blow, let-off, drop, and then the regulation was proven to be correct with proper after-touch. I always use the end keys in each section as my samples. First, this allows for any irregularities in the string height going from section to section. Second, it gives me a hammer at the end of each section which has been set to the correct blow distance. Doing step no32 The Blow then becomes a simple matter of drawing a line between the tops of these two end hammers and setting the remaining hammers in each section level to this line.

This, of course, is accomplished by raising or lowering the capstans. If the hammers do not return consistently back to the same height when a test blow is given to the keys, check for weak repetition springs, too much lost motion in the jack height, tight hammershank flange centres, or tight key bushings. Any time that the capstan is changed, it is a good rule to give the key a test blow to see where the hammer will settle in its height. During this test, watch the rebound of the hammer as it comes up off the hammer rest rail/felt. All 88 hammers should rebound with the same freedom. If they do not, stop and check for nonuniformity in the centres, as this will make the action play unevenly no matter how well the action was regulated.

When all of the hammers in each section have been made level to the samples, install the action back into the piano and play each note vigorously. At no time should any one hammer be higher or lower than its neighbours in a section. Any unevenness should be corrected. Incidentally, the practice of raising one hammer to give the proper after- touch to that one key is wrong. In order to have perfect evenness of touch, uniformity of tone (i.e. power), and a uniform repetition, all hammers must be the same distance from the strings. More will be said on this subject at a later time.

In selecting the proper blow distance, look at the tangent relationship between the jack and the knuckle. Ideally, the knuckle should be glued on at 90° to the hammershank, and the jack should be in a straight line with the knuckle core. This would give the ideal of a jack at 90° to the hammershank. The shank should be about a shanks height off the rest felt. If it is a great deal more above the rest felt, make sure that this angle between the jack and shank is checked. An angle of more than 90° will result in a loss of power. What we want is the maximum acceleration of the hammer without destroying this tangent relationship. As has been mentioned before, altering the blow distance or altering the key dip are the only two steps which can be changed to compensate for action wear. Never set the blow distance without also considering the dip. If it is unacceptable to change the dip, and if this tangent relationship of the jack to shank has to be compromised, perhaps you should think in terms of installing a new set of hammers/shanks/flanges.

 

In the past, I have stated that ...

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