freebies

[gordon stelter]

I consider it only useful to really "pound in" the
notes if you have nice tight tuning pins. Otherwise
you are just jerking the pins out of position and
wasting time. On these pianos I do the best I can
without driving myself nuts, and tell the customer
that the piano needs more work to be stable.
     Thump

--- Jonathan Finger <johann@tollidee.com> wrote:
> Call me crazy, but I think it's possible to get a
> stable tuning without
> banging the heck out of each note.
> 
> I think if you've developed a good enough technique
> of moving the pin in
> the wood, you can put the pitch where you want it,
> and not have to
> strike it into place.  
> 
> I know that many will disagree, but I don't believe
> that banging notes
> will necessarily equalize the tension across all
> points.  I've played
> with this quite a bit over the last several years,
> and have found my
> tunings to equally as stable (or more so) when I
> concentrate on setting
> the pin, and not using test blows.
> 
> For those of you who know me, you know that I try to
> do quality work,
> and you know that when I say "stable" I mean it.
> 
> Also, if I over-pull a note, and it ends up right
> where I want it (even
> after a bit of FF playing, then why would I think it
> isn't stable?
> Yes this freebie is welcome... the fewer notes I
> move, the more stable I
> would think the tuning to be.
> 
> Regards,
> 
> Jonathan Finger RPT.
> 
> 
> -----Original Message-----
> From: pianotech-bounces@ptg.org
> [mailto:pianotech-bounces@ptg.org] On
> Behalf Of Ron Nossaman
> Sent: Saturday, January 25, 2003 9:28 AM
> To: Pianotech
> Subject: freebies
> 
> The pretty much universal consensus as I read it is
> that a first pass
> pitch 
> correction, however large or small, is done as
> quickly as possible.
> Little 
> time is wasted on stability. The idea is to get the
> tension up, get it
> in 
> the ball park, and get on with it. Something in the
> vicinity of 20-25 
> minutes seems to be about average.
> 
> Pass two, I then read, is to clean up pass one,
> which the pitch
> correction 
> features of the ETD got so close on the first pass
> that many strings
> don't 
> have to be moved at all.
> 
> So in the case where freebies (a serendipitous
> artifact of pass one) are
> 
> cheerfully accepted as a windfall benefit during
> pass two, how can a 
> finished tuning that has a number of strings on
> which no attempt has
> been 
> made to settle and stabilize them be a decent and
> solid tuning?
> 
> Does not compute.
> Ron N
> 
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> 
> 
> 
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