Tuning Hammer Technique and Stability Question

[george bartlett]

Paul, a very nice article on tuning stability, the best I’ve read in a long
time.

Here is another question or do you know of someone who might know.

I am looking for information on a piano by the name:    HEITZ/HOELLING &
SPANGE NBERG

I don’t see it in Pierce’s Atlas.. this is an old upright probably hasn’t
been serviced in years.

Regards

George

 

Keep That Piano Tuned UP.........

 

-----Original Message-----
From: pianotech-bounces at ptg.org [mailto:pianotech-bounces at ptg.org] On Behalf
Of pmc033 at earthlink.net
Sent: Thursday, March 30, 2006 4:56 AM
To: Pianotech List
Subject: RE: Tuning Hammer Technique and Staibilty Question

 

Hi, Robert:

    Here's my $.02.  The secret to accurate tuning is to be able to make
very small movements of the tuning pin in the block, in all kinds of
pinblocks, tight or loose or anywhere in between.  You need to be able to
judge whether you are just enough above the target so that when you ease the
tension it drops just to the target pitch- and not below.  The pin should
have a very slight amount of "reverse torque" so that the string tends to
stay at the target pitch.  You want to balance that torque against the pull
of the string.  I will admit here that this is my technique that I have
developed over the many years I've been tuning.  

    My observation of new tuners is that they haven't mastered the technique
of making small moves of the pin in the pinblock.   New tuners tend to make
larger movements than necessary, and tend to put too much reverse twist on
the pin (read: bending the pin).  The trick is to "test" the pin by moving
the tuning lever a little bit up and down, noting whether the string tends
to stay at the target pitch.  Practice doing unisons and see if the beats
speed up equally on either side of pitch (sharp and flat) while you move the
pin a little in either direction.  The string should tend to stay at the
correct pitch.  Pounding the string down to pitch should not be necessary,
and often tends to make the string go sharp later.  Try to limit the
movement of the pin as soon as you feel it move in the block.  I try to put
some torque on the pin enough initially so that a little bit more movement
turns the pin.  Y! ou want to break the static friction on the pin, but not
allow the pin to move too far.  Dynamic friction is less than static
friction.  Once the pin moves, it will tend to be easier to turn the pin.
Breaking it loose, and keeping it from going too far is the trick.  An
impact hammer helps (on uprights) because it allows you to do this easily.
Just enough of an impact to turn the pin a little is what you want.  I don't
use an impact hammer- I have my own techniques- but I would recommend one
for a new tuner.  It took me many years to perfect this, so don't be
discouraged if you don't immediately "get it".  You will have to blaze your
own trail, so to speak.  My suggestions here are only a guide, some hints
along the way.  Just practice those unisons!  

    Also, remember that there is some friction of the wire over the bearing
points.  Some pianos have a lot, some have almost none (Steinway uprights).
If the pitch doesn't change right away when you turn the pin, you have
friction that is preventing the sliding of the string.  The understring felt
is often the source of friction here, and you can put some protek lubricant
on the string to help with this.  Just don't go hog wild and allow the
protek near the tuning pin.  I use a hypo oiler and put the tip of the oiler
along the strings in the felted area.  Just don't use any petroleum based
lube here (WD-40).  

    If there is too little friction, the SLIGHTEST movement of the pin is
going to affect the pitch.  These are a challenge, and require careful
handling.  Stability is difficult to achieve, but with experience it can be
done.

    Another trick is to use the natural "flagpoling" of the pin to put
"reverse tension" on the string.  On uprights, a slight nudge of the pin in
the direction of the string will lower the tension, and pull the string into
the target pitch.  Kind of like pulling the arm on a "one eyed bandit".  Key
here is: A LITTLE NUDGE- not enough to bend the pin.  

    Try to keep the handle of your tuning hammer parallel to the string.
IOn grands, a little nudge of the tuning hammer in a downwards manner will
pull the string into the target pitch.  

    I have used an Accutuner since I started in 1988.  It's instant response
has helped me to find the most reliable techniques to set the pins.  I can
see immediately whether the string is going to stay there when I give it a
good blow.  

    What I would say, in regards to "beats" and how much higher you need to
be from your target pitch, is that you need to be aware of how much torque
is needed to break the friction.  If your pins are tight, you need more
torque.  And you need to be extra careful not to allow the pin to twist too
far.  If your pins are on the loose side, you will need less torque to break
it loose.  Tight pins are going to make more "beats" before they break loose
(assuming you are doing unisons).  If you get a feel for how many beats it
takes to move the pin, you can judge how many beats you need to have above
the pitch so that when you put your "reverse twist" into the pin, it will
end up on pitch and not move further.  With tight pins, you may have to go a
little "flat", moving the pin past the target pitch on the flat side, so
that the torque on the pin drags the string up again into pitch when you
nudge it sharp.&nbs! p; Let the pin itself do the stabilizing for you.  It
isn't enough for you to have the string at pitch- you must create the
conditions by which it will STAY there when you remove the tuning hammer and
give it a test blow.  Balancing the torque on the pin and the slight bending
of the pin towards the speaking length against the tension of the string is
the goal here.  

   The best way to learn is to try different ideas and techniques and see
what works for you.

    I hope this helps.

    Paul McCloud

    inSane Diego

 

 

----- Original Message ----- 

From: HYPERLINK "mailto:rfinley at rcn.com"Robert Finley 

To: HYPERLINK "mailto:pianotech at ptg.org"pianotech at ptg.org

Sent: 03/29/2006 10:07:31 PM 

Subject: Tuning Hammer Technique and Staibilty Question

 

I would like to ask a question about how the tuning hammer should be used to
achieve a stable and accurate tuning. I understand that one has to turn the
tuning pin with the hammer so that the string is slightly above pitch, and
then ease it back down into position, presumably to eliminate any
self-twisting of the pin that could occur afterwards, causing the string to
go out of tune. I guess this is because the tuning pin is flexible and the
twisting at the bottom of the pin where it is seated in the pin block lags
the twisting at the top of the pin over which the tuning hammer is placed. 

 

My question is, how much should one tune the string above pitch before
easing the pin back down? Should it be a few cents, cycles or what? I find
it interesting that the tuning pin is that flexible because it seems to be
made of rigid steel. I would expect the twisting effect of something that
rigid to be minute, but enough to cause a string to go out of tune if the
incorrect hammer technique is used. I have found that on my own piano, I can
turn the tuning hammer a noticeable amount without a change in pitch, until
I reach a point where it does start to change. 

 

Thank you for your advice. 

 

Robert Finley


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