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Technical Reference Guide

Grand Regulation
 TABLE OF CONTENTS

GRAND ACTION DIAGRAM .......................................................................................... 3

REGULATE FLY POSITION............................................................................................. 4
REGULATE BALANCIER HEIGHT................................................................................. 5
BLOW DISTANCE AND HAMMER LINE...................................................................... 6
LET-OFF (ESCAPEMENT) ............................................................................................... 7
HAMMER DROP............................................................................................................... 8
KEY DIP ............................................................................................................................. 9
SHARP KEY DIP ............................................................................................................. 10
AFTERTOUCH ................................................................................................................ 11
BACKCHECKS................................................................................................................. 12
REPETITION SPRINGS .................................................................................................. 14
KEYFRAME SHIFT SCREW........................................................................................... 16

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GRAND ACTION REGULATION—ACTION DIAGRAM

The following pages outline suggested steps in regulating the grand piano. It should be noted that
the specifications given are important; however, they may vary within reason to accommodate
individual needs of the piano player. It is important for the technician to understand the interrela-
tionship between regulation procedures and how they affect the instrument’s performance, and to
use this understanding in determining individual needs of the instrument and the performer.
Since individual regulation steps affect others, repeating operations will be necessary in achieving
stability.

Prior to regulation, the steps outlined in “Grand Preparation” should be performed or checked for
compliance.

Diagram of Grand Action and Key (without Sostenuto)

common regulation tools

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REGULATE FLY POSITION

Background: The fly position is critical in obtaining a controllable stroke of the hammer. If the fly
position is too far forward, it will escape too early and the hammer will have little control, little
power, and possibly a misfire. If the fly position is too deep under the knuckle, the result will be
excess friction and poor repetition.

HOW: Regulate the position of the fly so that the far side of the fly aligns with the far side of the
knuckle insert.

fly position in relation to knuckle core

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REGULATE BALANCIER HEIGHT

Background: The balancier height is adjusted to eliminate lost motion between the fly and the
knuckle while helping the fly to return easily to its rest position.

HOW:
Step 1. Initial adjustment—With the hammershanks lifted off the repetitions, adjust the height of
the balancier so that the top surface of the balancier is slightly above the top surface
of the fly. The height of the balancier is regulated by raising or lowering the
balancier adjustment screw.

Step 2. Final adjustment—Final adjustments are made so that when the fly’s tender is depressed and
released, the fly returns to its correct position. To eliminate any lost motion, feel for
a slight drag as the fly passes under the knuckle. This should cause the hammer to
“wink.” The factory calls this procedure “rolling the flies.”

balancier
height
regulation

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REGULATE BLOW DISTANCE / SET HAMMER LINE

Background: The blow distance is the amount the hammer travels from its rest position to the
string. This distance is measured from the bottom surface of the string to the top of the hammer
head. It is adjusted by rotating the capstan screw up or down into the key. Although blow
distance can vary within reason, extremes are unproductive. An excessively shallow blow distance
will produce a weakened power stroke. An excessively deep blow distance will require excessive
key dip, resulting in excess key travel.

The blow distance is originally set in the factory at:

1¾" for Models S M L O A B
1⅞" for Models C D
This adjustment should be made in each section of the scale as string height
within each instrument continually changes from bass to treble.

Slight variations in the hammer line will increase or decrease the amount of
aftertouch without changing the overall key dip. Lowering the hammer line
will decrease the amount of aftertouch. Raising the hammer line increases the
amount of aftertouch.

HOW:
Step 1. Set guides—Adjust the first and last hammer in each section while the action and keyframe
assembly is in the piano. Rotate the capstan screw to make this adjustment.

Step 2. Make hammer line—Place the keyframe and action on bench and adjust the remaining
hammers within each section by rotating the capstan screws.

Hints:
S M L O A B 1-3/4" Use the keylid as a backdrop behind the
C D 1-7/8" hammers to visually aid in outlining the
hammer line. Place a small straightedge across
the hammershank flanges as a horizontal guide.

keylid

hammer line

straightedge

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ADJUST LET-OFF (ESCAPEMENT)

Background: The let-off adjustment is critical to achieve both soft and loud playing. If the let-off
is adjusted too far from the string, the hammer will escape too early. This will result in difficulty to
control soft playing, at the same time decreasing overall power. The purpose of this escapement is
to assure absolute freedom of the hammer during its contact with the strings.

HOW: Adjust the let-off button so the hammer escapes no less than 1/32", and no more than 1/16"
from the strings. Rotate the let-off screw as necessary.

Hints: This operation must be done in the piano for exacting regulation, however you may pull the
keyframe and action from underneath the damper heads, as a visual aid.

Before adjusting let-off, ensure

setting let-off that the hammer drop is not set
1/32"–1/16" so high that it might “eclipse” or
interfere with the let-off
adjustment.

Occasionally check with

gauge to confirm what
you are seeing.

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REGULATE HAMMER DROP

Background: Setting the hammer drop is the first escapement of the “double escapement” action.
Adjusting the drop screw disengages the balancier from the power stroke of the key, and is set to
avoid double striking of the hammer.

The hammer should drop no more than 1/16" from the point of let-off.

HOW: This is adjusted by rotating the hammer flange drop screw up for less drop, or down for
more drop.

When checking for the amount of hammer drop, the key must be fully depressed so
that the hammer is escaped past let-off and the key is touching the front rail cloth
punching.

drop screw location

point of let-off
point of
drop

Drop can be observed and set in relation

to hammers that previously have been
set to the correct let-off as seen in the
inset photo above.
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ADJUST KEY DIP

Background: Key dip represents a key’s full depth of travel. The factory regulates key dip at .400"
for all grands.

It should be noted the key dip may vary within the suggested range of .390 inches
and .420 inches for any Steinway grand piano. However, extremely shallow key
dip will result in lost power. Extremely deep key dip will result in reduced action
performance with the sharps “burying” below the naturals.

HOW:
Step 1. Set key dip on naturals—While using a touch block as a guide, adjust key dip by adding or
removing the number of paper punchings underneath the front rail cloth punching.
Place the touch block on top of a natural key that has been adjusted for recom-
mended key dip. Depress the key and touch block while rubbing your fingers across
the top of the touch block and its adjacent natural key. Make note of this relation-
ship between the adjacent key and the touch block to duplicate this relationship
consistently on all naturals.
Also: Depress several natural keys and check for consistent key dip.

Use consistent pressure.

Light pressure gives deeper
key dip and vice versa.

Adjust key dip by adding or removing

the number of paper punchings under-
neath the front rail cloth punching.

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Step 2. Set key dip on sharps—When adjusting for key dip on the sharps, duplicate the “amount of
aftertouch” from the naturals.

Hints: It is better to use the smallest number of front rail paper punching combinations to avoid
sponginess in the keyboard.

It is important to use consistent force on each key when checking for key dip.

Keyblocks should be firmly secured before measuring and adjusting key dip.

The sharps must not

bury in the naturals
when depressed.

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ADJUST AFTERTOUCH

Background: Aftertouch is the amount the key travels past the point of let-off. Key dip establishes
the amount of aftertouch; however, aftertouch is also affected by blow distance (capstan
adjustment), and key level.

HOW: The amount of aftertouch can vary; however, normally it should be 1/16" to 3/64", or
approximately the thickness of a new penny. Adjust key dip to set the amount of
aftertouch on the natural keys first, and then duplicate, by feel, this amount on the
sharps. Also, be sure to check the fly (jack) travel to ensure that there is some free
travel between the fly and the stop felt when the key is fully depressed.

Hints: The amount of hammer rise that follows hammer drop should be the same for the
sharps as on the naturals.

Within reason, an increase in the amount of aftertouch throughout the scale can be
achieved by raising the hammer line (decreasing blow distance).

Within reason, a decrease in the amount of aftertouch can be achieved by lowering

the hammer line (increasing blow distance).

aftertouch—the key travel after

escapement occurs

1¾"

hammer

Escapement
key occurs.

.400" aftertouch

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REGULATE BACKCHECKS

Background: Correct setting of the backcheck / hammer height is crucial for repetition. When
properly adjusted, the backcheck will “catch” the hammer, allowing for the fly to return easily
under the knuckle, positioning itself for another strike. If the hammer is “caught” too low, it will
travel a greater distance, increasing the amount of time it takes for the fly to return under the
knuckle.

HOW:

Step 1. Square the backcheck—Using parallel pliers, square the backcheck to the hammer tail. If
the backchecks are not square to the hammer, the hammershank center pin will
cause excessive wear on the bushing as the hammer is forced to either side during
play. This condition will also cause premature wear on the backcheck leather.

squaring
backchecks

Step 2. Align the backcheck—Using wire-bending pliers, vertically align the backcheck to the
hammer molding.
vertical sides tail centered
on backcheck

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Step 3. Regulate backchecking height—By hand, adjust the angle of the backcheck head so that the
hammer is “checked” as high as possible. This height should be consistent through-
out the keyboard. Guides should be adjusted with the action in the piano before
completing this regulation step on the bench.

checking ½"
from the strings

Step 4. Check for clearance—Make sure that the backcheck is not too close to the hammer tail, so as
to cause interference during play. This can be checked by playing each key with
hard blows. The hammer will block, or scrape the backcheck if it is set too close.
One can also check for this by depressing both the hammer head and the key
simultaneously in a back-and-forth rocking motion. Interference can then be
detected if the backcheck is set too close.

Tail must not

touch backcheck
with pressure on
the hammer while
rocking key.

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SET REPETITION SPRINGS

Background: The repetition spring is designed to aid the repetition assembly back to its rest
position, and, therefore, allowing the fly to quickly re-engage for a fast re-strike.

The setting of this spring is crucial for attaining repetition. As the hammer rebounds from the
string, the fly is still disengaged. The balancier, which is supported by the repetition spring,
supports the hammershank knuckle. This allows the fly to reposition for another strike of the
key. Also, the repetition spring aids in forcing the repetition onto the capstan screw and key.
This force assists in moving the key towards its rest position.

HOW:
Step 1. Check spring strength—Strike the key with an ordinary blow, allowing the hammer to
catch on the backcheck. As the key is slowly released, the hammer should rise
away from the backchecks toward the string, until the balancier is stopped by the
drop screw.

Step 2. To increase the spring strength—Use a spring hook to remove the top portion of the
repetition spring from under the balancier spring grub. Then, use the spring hook to
pull the repetition spring upwards to increase the strength. Reinsert the spring
under the grub and recheck as described in Step 1.
Spring tools are available from the Steinway Parts Department.

Do not
bend
here.

Increase
tension
in the
increasing spring tension coil.

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Step 3. To decrease the spring strength—Use a spring hook tool to remove the spring from the grub,
and deflect the spring downwards. Reinsert and check as in Step 1. A final inspection of spring
settings should be made with the action in the piano.

decreasing spring tension

NOTE: The strength of the repetition spring should be adjusted so that each hammer rises steadily
to the point where its motion can be noticed by feel in the key. The motion should be steady and
quick, but not snappy. Generally, the speed at which the hammer rises is set slower in the bass and
progressively faster in the treble. This will accommodate for the different masses of individual
hammers.

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ADJUST KEYFRAME SHIFT SCREW

Background: The keyframe shift screw is adjusted so that when the keyframe is in its shifted
position, the left string of the trichords is missed by the hammer.

The keyframe shift screw can also be adjusted for individual requirements. It is acceptable for the
shift of the keyframe to vary. Some players request not to have a full shifting of the keyframe so the
hammer does not clear the left string of the trichord. Rather, a minimal shift is also acceptable so
the player uses only a different part of the hammer during play. This results in a tone of different
color, rather than a change in volume. In any case, hammers should be well spaced so string-by-
string voicing can be achieved.

HOW: Adjust by rotating the keyframe shift screw, which is located on treble side of rim in the
keyboard cavity. Determine how much the screw needs to be adjusted by observing
the position of the hammers in relation to their corresponding strings when the
keyframe is in its shifted position.

Older Steinways may have the keyframe shift screw located in the treble keyblock.

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