Tuning Hammer and Technique for Novice

[Joe And Penny Goss]

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Hi Susan,
Impact, when referring to anything other than the Mahaffy style, is =
trully not impact but rather a jerk. I use the term impact becuase most =
that I talk to seem to grasp the concept quicker, after all who wants to =
jerk a tuning pin <G>
My own tuning began with the cigar style extension hammer and later for =
10 years the Mahaffy's impact hammer. Jerry Raz had the first ( what I =
call Grand T )  impact hammer at the Milwakee convention. I tried to buy =
it but had to go to my room to get the money and by the time I found him =
again it was sold.
10 years or so later I had Mike Swendsen make the design you mention for =
me.
Since then I think that I have made some improvements in the impact =
center ( not a roll pin ) and will have a new model soon as well as an =
improved cigar style extension hammer that will double as a wand style =
using 1/2" hex steel for the shaft.
Joe Goss
imatunr@srvinet.com
www.mothergoosetools.com
  ----- Original Message -----=20
  From: SUSAN P SWEARINGEN=20
  To: pianotech@ptg.org=20
  Sent: Sunday, June 16, 2002 3:54 PM
  Subject: Re: Tuning Hammer and Technique for Novice


  I'm a fairly new tuner and had the opportunity to really practice with =
a variety of tuning hammers and tuning styles.  For what it is worth, =
here is my recommendation.

  First off, I agree that the impact method is the best method.  =
Impacting the pin, when done properly, leaves very little twist and =
bending in the pin.  However, I can't imagine why anyone would want to =
use an impact technique with a traditional lever or a Wonderwand.  If =
one wants to impact tune a piano, in my opinion, the only reasonable way =
to do this is to use an impact hammer and not a traditional hammer.  The =
impact hammer lets physics work for you.  I have heard people complain =
that the impact method is better suited for pitch adjustments but I =
disagree.  You can fine tune with an impact hammer to a very great =
accuracy - although it does take a little practice.

  The problem here is that impact hammers and impact hammer techniques =
are not widely available.  Schaff does sell an impact hammer - the one =
with the adjustable weight, but I have found it very difficult to use as =
it wobbles and the weight is way to heavy (with all due respect to =
Schaff - I love their service). =20

  I recently bought an impact lever through Keith Bowman and feel his =
design is just about perfect.  I have a heavy weight and a lighter =
weight I can screw on the tip.  I use the heavier weight for pitch =
raises (I pitch raise every string that is more than 4 cents off) and =
the lighter weight for fine tuning.  I've been using a technique =
recommended to me by Dean Reyburn, whereby you move the pin above and =
below the target pitch in smaller and smaller increments, finally moving =
the pin into tune by a small clockwise direction.  This helps ensure =
that the tension between the pin and pressure bar is at (or very =
slightly higher) than the tension in the singing length, making for =
better stability.

  Another complaint I have heard is that people don't want to have to =
learn two hammer techniques since the impact hammer is not suitable to =
grands, only to verticals.  I felt the same way until I had Mike =
Swendsen of Canada make me a T-impact hammer for grands.  This hammer =
works beautifully and Mike did a wonderful job in designing it.  Yes, =
you have to carry two different hammers in your kit, but that hasn't =
been an issue at all for me.

  I love the impact method but have not been able to master it with =
traditional tuning levers.  If you are serious about impacting the pin, =
please consider using the most appropriate hammer for this technique, =
the impact hammer.

  I would love to hear additional comments on this.

  Corte Swearingen
    ----- Original Message -----=20
    From: Billbrpt@AOL.COM=20
    To: pianotech@ptg.org=20
    Sent: Sunday, June 16, 2002 12:10 PM
    Subject: Tuning Hammer and Technique for Novice


    List,=20

    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.=20

    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.=20

    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.=20

    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.=20

    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.=20

    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.=20

    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.=20

    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?=20

    Bill Bremmer RPT=20
    Madison, Wisconsin=20
    Click here: -=3Dw w w . b i l l b r e m m e r . c o m =3D-=20

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