Tuning Hammer and Technique for Novice

[Billbrpt@AOL.COM]

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List,

Yesterday, while completing the Pinblock Doping job, a newer subscriber to 
this List and a resident of Madison, Wisconsin, Tyler Smith dropped by to 
introduce himself.  He is interested in learning the Piano Tuning and 
Technology trade.

His first concern is about acquiring a tuning hammer.  He expressed 
reluctance at getting a "student" hammer from Schaff Piano Supply, concerned 
that it would be inferior and perhaps wear out prematurely.  I told him that 
such a basic tool was not necessarily a bad one, however.  What it is, is 
light weight and some technicians prefer something far more massive.

I used such a hammer for many years and personally prefer a lighter weight 
hammer.  When I decided to try Charles Huether's WonderWand ball end hammer, 
I instantly took to it and it has been my choice for over 10 years now.  I 
have seen other opinions about this, however, at least one in which the 
writer said he couldn't understand how anyone could use one and get a piano 
tuned.  I think the difference in preferences boils down to heavy or light, 
long or short, springy or stiff, ball end or conventional handle.

We also discussed hammer technique.  I think most people would start with a 
concept of slow pull as I did.  I know that there are some excellent tuners 
who use a slow pull technique, so I can't say that it is wrong.  But what I 
learned from George Defebaugh and Jim Coleman at the 1979 Convention in 
Minneapolis was an impact type technique which I quickly converted to and 
have used ever since.

I remember George explaining that an impact type technique was the most 
mechanically correct and appropriate way to move the piano string.  His 
reasoning made sense to me and thus that kind of technique has worked for me. 
 However, when I am trying to help someone learn to tune better, the student 
will often feel discouraged that he or she cannot seem to "pop" a string into 
tune with a single stroke the way I often can. That is where practice and 
experience allow me to tune very rapidly and accurately but those skills took 
many years to acquire.

In the end, I advise the student that he or she must find what kind of hammer 
and technique seem to work for them.  If one kind or style is tried and it 
doesn't seem to be working out, then maybe another will.  I often see people 
write of the difficulty and frustration with tuning a Steinway vertical.  I 
never have any trouble with them at all but it is because I think I have 
found the proper tool and technique to defeat what otherwise is a maddeningly 
difficult piano to tune.

Let's hear some opinions about the best way to get started with a tuning 
hammer and technique.  I don't expect everyone to agree with my opinion and I 
even welcome a well reasoned opinion that is in direct conflict with mine.  I 
think it is best for a student and everyone really, to at least understand a 
different point of view.

My current tuning hammer is well worn and due for replacement.  What I think 
I'd like to do is try Joe Goss' ball end tuning hammer.  My question is if it 
is light, medium weight or heavy.  I don't want a heavy hammer because that 
would cut down on my speed.  I'm inclined to buy another WonderWand and let 
Tyler try my old one for a while but I am intrigued with trying Joe's hammer. 
 Joe, can you tell us a little about your ball end hammer and why you think 
it may be better than the WonderWand?

Bill Bremmer RPT
Madison, Wisconsin
 <A HREF="http://www.billbremmer.com/">Click here: -=w w w . b i l l b r e m m e r . c o m =-</A> 

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