>I imagine you considered the problem of stability after your discovery. = Do >you think that the warm rich tone could be achieved by gentle tuning, and >then tested by heavy blows? Will the warm tone remain after heavy blows? >(If not, some pianists will destroy it in 10 seconds.) Did you find that >stability was worse with gentle tuning? >Is it possible to refine hammer technique enough to compensate for lack of >heavy blows? Dear Susan Kline and list, After shutting down my computer last night, I thought I had forgotten = somrthing. Indeed I should have mentioned that in order to make use of this = "tone possibillity" one has to be an experienced tuner. My teacher pointed this out to me, he said that a compromise can be = made by using maximum "tuning pin technique", meaning; it is not = (always) necessary to use heavy blows. Instead, one must have a developped muscle technique, to manipulate = the tuning pin with as little movement as possible. Turning the pin = with minimal torque is the answer. Feel and hear a "tic!" while using = the tuning hammer, try to move the pin to it's destination without = even touching the key, and then check. It's Zen . A kind "blow" will = set the string. >Do you feel that the "hearingprint" is something people are born with, or = do >they develop it? (i.e. -- could they improve it?) It seems like = different >tonal character in different pianos. The makers of different countries = and >eras had different tonal ideals in their minds, and they moved heaven and >earth to achieve them. Of course everybody has it's own hearing print! like everybody has = different fingerprint, that's what made the experiment with 5 people = tuning the same piano so interesting! BTW. where does the name Kline come from? (Klein?) Friendly Greetings from: CONCERT PIANO SERVICE Andr=E9 Oorebeek Amsterdam, the Netherlands email address: oorebeek@euronet.nl =89 Where Music is no harm can be =89
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