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Sorry, but I do not believe that. In order to maintain such tight tolerances, you would need incredible control over not just the keybed punchings, but the knuckle and letoff button as well. The adjustment would have to be checked constantly, which would wipe out the budget of most small concert venues.

What is more, I have never heard of a single concert artist stopping in the middle of a run because there is a variation in the aftertouch of more than 0.007". Anyone who does this is not likely to have a career.

Keep in mind that this topic is for a amateur in a foreign country with little access to good piano care. Being pedantic does not help.

To interpose my experience as an amateur in a foreign country, I found that 0.010" (0.25 mm) reduction in aftertouch made a huge difference to the touch of my piano. A further 0.010" reduction made another huge difference. 0.005" would have be discernible to me if not 0.002".

I wrote:
In a performance setting, .010" is a huge tolerance for aftertouch. In a church choir room, not so much.
If I am using the Crescendo punchings, I will often be using the .002" to achieve discernable differences in aftertouch. I can't tell a .002" difference in key dip, but in a regulating zone, that difference can be felt in aftertouch. And if I, as a tech can feel it, I assume my customers can, also.

BDB responds:
>>Sorry, but I do not believe that. In order to maintain such tight tolerances, you would need incredible control over not just the keybed punchings, but the knuckle and letoff button as well. The adjustment would have to be checked constantly, which would wipe out the budget of most small concert venues. <,

Believe what you like, my experience is that there are artists out there that can tell. , I strive for that kind of control over the action, and yes, I have many customers that easily discern a .010" difference in aftertouch. Ronnie Milsap could feel a little over .004" difference. The adjustment is not checked constantly, it begins with tolerances that close, and gradually loosens up, like one regulation a year on our stages. At the end of semester worst, there might be a tolerance of .010", but not to start.

>>>What is more, I have never heard of a single concert artist stopping in the middle of a run because there is a variation in the aftertouch of more than 0.007". Anyone who does this is not likely to have a career.

Pardon me, but there is straw leaking out. No artist is going to stop in the middle of a run, but they will adjust to whatever irregularities there are in an action, and the less irregular the individual component settings are, the less irregular the final result will be. The more regular the action, the less effort is expended on the instrument and more attention on the music. Aftertouch is a huge part of the equation , perhaps the most sensitive dimension in the action, and I still maintain that a .010" tolerance, while perhaps suitable for a choir practice piano, is a crude margin for the performance venue, which is where I live.
Regards,

When we are regulating with the smallest papers it is surprizing how the aftertouch difference is more sensitive than key dip difference.

The thin papers are 0.06 mm (silk paper) but those are for the balance, mostly even if I have seen as thin papers used. What counts in my opinion is to use papers that are not taking moisture too easily. I use the Yamaha ones in lack of better source. (not cheap)

I also use 22 mm diameter papers I still see pianos with the good large punchings installed on papers 20 mm in diameter, as originally the punchings where 20 mm.
The "creshendo" punchings are adding power but à little noise too. They are precise, but may be a little hard to the pianist articulation.
Not for all pianos, if the the keybed is not too sonorous it is better..
Regards

The Crescendo punchings are great for stable regulation, however I agree that their extra firmness is noticeable to the pianist when playing (at least to me). It's not necessarily bad, but it took a little getting used to.