I wanted to ask for advice on a regulation I was thinking about for the damper mechanism. I intended to have it delayed during the next regulation to delay the action of the dampers during the key stroke just enough to make the staccatos shorter, without making the legato too inconvenient. However, I was thinking of something that I don't know if is done or if it is feasible: instead of having them rise all together, what if the action were made more delayed in the bass and progressively earlier towards the treble, up to the point where there are no dampers? Is it possible to do this? What consequences might I have?
You have the inconvenience that by changing the pedal, not all dampers fall on the strings simultaneously. However, they can all be early or late. (Let us remember that the damper, in standard regulation, must rise at the halfway point of the hammer's stroke.)
But.... let's just say it is always better to evaluate after the tuning... but the regulation of the dampers, assuming one wants to regulate them differently from the standard regulation, has to contend with the room acoustics and the way the pianist uses pedaling. Perfect tuning actually makes the piano sound a little less resonant; anyway, it all needs to be verified on site. Dissatisfaction can also depend precisely on the design and the tension of the soundboard. Some instruments have a more "restrained" sound, others a wider one. Based on this, one must be ready to know how to use the pedal with more or less moderation and decide when to use the ordinary on the downbeat or upbeat and syncopation (even the vibrato pedal or using it on the weak beats, perhaps in short bursts, can create good results). Last but not least, the tonal pedal can be used, for example, in harpsichord-style music, as an alternative to the resonance pedal. I listened to a "summer" concert by the pianist and friend Andrea Bacchetti. He was playing 18th-century Italian music on a terrible instrument. I admired the wisdom with which he used the tonal pedal, which held the harmonies of the bass without sacrificing the clarity and articulation of the cantabile. Genius!... I expressed my admiration for this choice to him verbally, in person.
Well, it's not that I have this great dissatisfaction, it's the room that echoes. In a video you said exactly that the ideal would be to regulate the dampers based on the acoustics and even based on the repertoire, which is not always feasible. Honestly, I manage to keep the phrasing clear with the right pedal. I was thinking about adjusting the dampers to extremize everything a bit and perfecting the pedal even further.
