Pounders... why?

[Jim Coleman, Sr.]

Hi Brian:

I'll hold my breath if you don't tell us quick how you did it.

I must say that I remember the Paul Smith Concert at the banquet. That was
the finest tuning I ever heard and I never heard a wiggle in any unison
throughout the entire concert. I'm sure you must have sweat bullets during
the prep, knowing how heavily he can play. I believe Paul is considered the
finest Jazz pianist on the Left Coast (oops, I meant West Coast). It was
so thrilling to hear him ease into a classic number right in the middle of
a terrific jazz improvisation and then to wander in and out of several key
tonalities in one selection. But, being a piano tuner, I was still mostly
impressed with the way the tuning held amidst all the pyrotechniques of the
fantastic playing.

If I remember correctly, that concert was played on one of the Kawai EX
models. My, what a big sound.

Then I do remember you tuning the Mason & Hamlin for him in Sacramento a 
year or two later where the performance and the preparation were just as 
impressive. I distinctly remember being asked to do that tuning and then
twisting your arm to get you to do it instead because I had more confidence
in you than in me. I sure hope that didn't get you into trouble with
Yamaha because you were working for them at the time. Anyway, that makes
two of your great tunings which I have heard and enjoyed.

Jim Coleman, Sr.

On Mon, 7 Jun 1999 BDeTar@AOL.COM wrote:

> List,
> 
> With all this talk about "pounders," I'm wondering where the rationale of 
> "pounding" comes from.  After almost 25 years of using a quick "double 
> strike," that is, the first time the note is struck sharply, then 1/2 a 
> second or so after, the note is played softer and held so as to hear the note 
> to tune.  I have never pounded the notes to achieve stability.  In fact, if 
> the notes are pounded too hard, you actually CREATE instability in the string.
> 
> Rather, let's have a discussion of hammer technique combined with "judicious" 
> test blows and retained, controlled, tuning pin torque, which have dramatic 
> effects on tuning stability or lack thereof.
> 
> For example, let's suppose you are going to tune for, let's say, Paul Smith 
> at, say, the National PTG Convention which was held in Portland, Oregon.  And 
> let's say that the piano was moved on its own casters from one building to 
> the next, in the sun about 2 hours before the PTG banquet starts.  Now, I 
> guarantee you Mr. Smith is, shall we say "exuberant" when he plays.  Here's 
> the question:
> Which has more effect on maintaining tuning stability: Hammer technique; 
> residual, controlled pin torque, or string rendering?  Further, what effect 
> do you think "pounding" would have on this tuning?
> 
> I'll spare you the details of what I did to encourage discussion!
> 
> Brian De Tar, RPT
> Positively DeFined
> BDeTar@aol.com
> 				NO OBSTACLES... ONLY OPPORTUNITIES!
> -
> -
>