>I hear a lot about hearing loss on this list. It doesn't surprise me. I >also wonder about hearing loss for the pianists who slave away at their >instruments for hours on end. Me too, especially those on those old Hamiltons in an 8X10 cinder block practice room. Waling away on two to six strings at a time is nothing compared to waling away on ten or twenty. Also, checking out the pedal problem under the grand as the customer decides to demonstrate by playing her most energetic piece. Hint: always wear ear protection when under a piano. > As a novice, I notice I >sometimes have to take longer than I should when tuning a stubborn string >(e.g. with a jumpy pin) -- probably much longer than any of you. When that >happens, I notice habituation to the frequency of that note. (Perhaps I >notice it only because it is an interesting phenomenon to me, >physiologically.) Anyway, when I notice that happening, I make it a point >to move on to other notes and to come back later. Good observation. That tends to go away eventually as your hammer technique improves and you learn to stop tuning past the point of diminishing returns and move on. Another thing I noticed back when the earth was young and I was trying to learn to tune, were the "islands" in my hearing. My aural perceptions were lumpy. I discovered that the volume, clarity and resolution of my hearing was nowhere near uniform through the frequency range of the piano. In fact, that's why I learned to tune from a C fork, rather than an A. I could hear the C better. Within a year or so, I had apparently made the internal calibration adjustments to compensate, and was (am) no longer aware of the difference. I can't imagine that these inconsistencies deep within my shell pink audio receptors went away, but something about learning what to listen for and where to listen masked the inconsistencies to the point I could no longer detect them. Another case of what we think we hear being what we actually hear after filtering through our expectations and experience. Ron N
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