Rosewood tuning lever/hammer

[Isaac OLEG]

Hi Joe,

I guess I said that was that part of the fingers that act on the
handle, I'll try again, but if the palm cant lay on the top of the
knob, the posture is not very good for the muscles then. I have long
fingers, but find it more tiring to use them in that more open
position. A smaller knob would certainly work better for me.

thanks for the "finger buts" did not knew the name of that part !

The click is ok but not always necessary, that's in the final nudging
I feel most uncomfortable with the one I have (somewhat large ball)
yours look more thin and oblong.

Best Regards.

Isaac


-----Message d'origine-----
De : Joe And Penny Goss [mailto:imatunr@srvinet.com]
Envoyé : dimanche 22 août 2004 00:34
À : oleg-i@noos.fr; Pianotech
Objet : Re: Rosewood tuning lever/hammer


Isaac,
You are using the tool incorrectly if you are tuningwith the palm of
your
hand as the touch of the tool. It is still in the fingersbut for me at
the
second joint not the tips of the fingers. My range of minute movements
with
my lever is from 1/2 cent in the bass to 10 cents in the treble on
most
pianos.
I espesially like the feel of the Yamaha pianos  (made in Japan ) and
S&S.
Sometimes being able to feel the click at 1/4 cent and know it is set.
Joe Goss RPT
Mother Goose Tools
imatunr@srvinet.com
www.mothergoosetools.com
----- Original Message -----
From: "Isaac OLEG" <oleg-i@noos.fr>
To: "Pianotech" <pianotech@ptg.org>
Sent: Saturday, August 21, 2004 3:15 PM
Subject: RE: Rosewood tuning lever/hammer


> Hi !
>
> It Is for uprights pianos probably ; I used one, in fact the effort
asked
to
> the arm is less grand because of the posture.
> You have to take off the bottom board and stand really the most
parallel
you
> can with the piano.
>
> The feedback in the palm of the hand is absolutely less precise than
the
one
> with the fingers, I've find too.
> But it may be my favorite hammer for pitch raises or chip tunings,
for
speed
> reason and less tiredness.
> What makes it difficult to control is  the lack of good feeling when
pushing
> on the handle, but I never used a pear shaped or oblong one, only
bowl
> shapes.
> I am persuaded a handle that is pear shaped but only slightly larger
than
> usual hammers may be good, one may be able to hold it with the
fingers
only
> if necessary (the palm of the hand tend to put permanent pressure on
the
> lever, and in fact, the part of the fingers that push to hold the
bawl is
> not very sensitive, and the pal itself does not "hold" the bowl, it
only
lay
> on it.
>
> There is also something with the equilibrium that bother me a
little. It
> always seem appealing to all my colleagues, but none have find it
really
> very accurate, probably because the use of the palm of the hand.
> Funny as we may use our fingers a lot without noticing eventually.
>
> I am not to say it is not possible to use it of course, but it
really seem
> to forward less information.
>
> I actually hold my Yamaha tuning lever with 3 fingers, more or less
to be
> far on the handle, the feedback is good enough (for fine or usual
tuning
> indeed, if I have to turn a lot a more standard posture is used)
>
> On verticals the round shape allow to go fast from one tuning pin to
the
> other, with a balancing move of the key but the fit on the pin is
not
always
> ideal then.
>
> With a standard tuning lever (on verticals)  one have to learn to go
very
> fast around the tip of the lever with 3 fingers ( like when snapping
the
> fingers) and move the hammer while holding it that way. That avoid a
lot
of
> neck and back problems (you have if you keep your ankle up while
moving
the
> hammer) and you have always a good fit on the tuning pin. Idem, for
> verticals, a 3 fingers holding at the top of the handle is well for
me.
>
> But I spend years and years holding my handle in a perfect parallel
motion
> before I understood that anyway the pin is twisting !
>
> I consider that a firm holding is good up to some point, but at a
certain
> moment one have to produce so small changes in pin twist and
pressure that
> the firm holding is not accurate enough.
> So whenever possible a holding that allow to tune up to the final
little
> moves is giving you some advantage.
>
> Nowadays, definitively, if your playing hand does not tune also,
only half
> of the job is possible. I am persuaded that some pianists put some
notes
in
> tune when working the piano (rehearsal for instance), they force the
note
> till the tone please them, eventually  and leave it where it is
after that
> (when possible).
>
> As a note well tuned is stronger, they don't have to play is so
strong
after
> that, they'll be amazed if you tell them what they do ! (some knows
it of
> course) same sexy idea that the pianist that knows when somebody
else have
> played his own piano, that something is different.
>
> Best regards.
>
> Isaac
>
>
>
>
>
>
>
>
> -----Message d'origine-----
> De : pianotech-bounces@ptg.org [mailto:pianotech-bounces@ptg.org]De
la
part
> de Gevaert Pierre
> Envoyé : samedi 21 août 2004 22:33
> À : Pianotech
> Objet : Re: Rosewood tuning lever/hammer
>
>
> Hi,
>
> I just used one of those ball type tuninglevers (from Jahn) on a
grand and
> it felt quite unconfortable to me. Maybe I should try a few more
times to
> get used to it and I suppose the technique is different than with a
standard
> tuninglever.
> I've heared that it has more advantages when tuning uprights?
> I use the rosewood lever from Schaff also but the Jahn looks more
precise
> and solid to me.
>
> Greetings,
>
> Pierre Gevaert
> Belgium
>
>
>   ----- Original Message -----
>   From: Alpha88x@aol.com
>   To: pianotech@ptg.org
>   Sent: Saturday, August 21, 2004 2:16 AM
>   Subject: Re: Rosewood tuning lever/hammer
>
>
>   Greetings,
>
>               I use a Rosewood hammer from Schaff. I like it. By the
way,
> what is the advantage of a hammer with a ball type lever?
>
>
>   Julia Gottchall,
>   Reading, PA
>
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