B.Y.O.B. party

[Susan Kline]

And don't forget that duplex section, which zings just like a grand ...

The impact tuning lever is my sole weapon in this war, (if you
don't count sheer stubbornness) but even that gets old. I try
standing up, sitting down, and now and then change back to the
normal hammer, which I put on the pin, and tap like Jim Coleman, Sr.
showed in his tuning class. It seems that the variety helps some.
The trick, I agree, is to make the smallest possible changes, so that the
rebound isn't such a problem ... and also to make many, many tries
very quickly, without a lot of emotional investment in any of them,
till one is right. (then stop!) Well, that is the trouble. How good
is good enough? The last ounce of clarity, if such there be, comes at
a fairly high price in time and effort. On the other hand, if no one
else has tried to do it, the owners are impressed. Luckily my college
doesn't own any of these jewels, so I just have a few in private hands
to deal with.

And yes, the bass isn't the problem.

Susan


>Aha! I think that is the crux of the matter right there - flagpoling tuning
>pins combined with too little (or is it too much?) bearing at the pressure
>bars. Invariably, I find the bass tunes up more easily on these demons.
>However, one thing I have tried that seems to work in the tenor and treble
>sections is to pull OUT on the pin as I push it flat, then push IN (toward
>the block) as I pull it sharp. Then pull out again as I settle the pin back
>where I want it. Then just pound the hell out of the sucker for good
>measure. I still put my hammer on the pin at 1:00 or so. Being 5'7", I have
>to tune these standing anyway for best leverage. Thing is, if you can GET
>one of these in tune, they will STAY there. And if all else fails, one might
>think of this piano's designer and be tempted (in the words of a NY Times
>article I read today) to "use a vulgarity that calls into question the
>legitimacy of his parents' marriage!"
>
>Mary