Tuning Softly - was Re: Sanderson Accu-tuner

[Tom Servinsky]

Good post John.
There becomes a point when one  is intuitively and completely in control of moving the string and pin. When string/ pin movement is induced by the tuner it is critical that the tuner beware of any after-movement that surely will follow. There's slack in the string, and there's type of slack in the pin. Both require settling before they are firmly in place to be rock-solid.Like David Andersen mentioned, it's not necessarily how hard one hits the key, but rather using a series of test blows of much lighter proportion will achieve the same end result.  The later is easier on your joints and much easier on your ears.
Experience teaches up some important lessons. We learn that there are going to be certain type of pianos which are notorious for string/pin instability. The Steinway studio tops list. But when design is working in your favor, and stability is quite easily achieved, lighten up. 
I've had my share of shoulder and wrist pains and believe me, it gets my full attention. I usually look at this as a sign that my work technique is drifting away from the most economical motion.
Tom Servinsky
  ----- Original Message ----- 
  From: John Formsma 
  To: dporritt at smu.edu ; Pianotech List 
  Sent: Saturday, June 09, 2007 3:56 PM
  Subject: Tuning Softly - was Re: Sanderson Accu-tuner


  I use fairly hard test blows for all pianos. I'm talking about playing softly while manipulating the lever.

  I'm a believer in making a piano stable. Just not a believer that it has to be done by hurting my ears, hands, and other joints. :-)  The way I see it, if I'm standing up at a piano, and smacking it from that position, it's reasonable to assume that no pianist is going to hit harder than that. If they do, that's piano abuse, and they can have their unstable piano then. I just don't see how they can routinely play harder than most tuners do for test blows, and still have any finger dexterity left. 

  Therefore, I'm adopting the view that my hands, elbows, and shoulders are more important than murderously ferocious test blows. It just ain't worth it. Particularly when stability comes from lever technique, based on how close the piano was to pitch before the fine tuning. Soft, rapid playing while tuning will cause the string to move just as well as moderately hard or hard playing while tuning. IMO, of course. YMMV, as they say.  :-) 

  I have also used that hammershank technique I mentioned a while back. It never felt so natural, and wasn't as quick as a test blow, but I probably wasn't completely used to it. Works, though, and I might try it again. 

  JF


  On 6/9/07, David M. Porritt <dporritt at smu.edu> wrote:
    Tuning softly is usually fine for the home console used by the 9-year-old.
    It is easier to hear.  However, if you do concert work or tune for some of
    the "heavy hitters" that can get you in to trouble.  I used to be an 
    evangelist for soft tuning until I was quite embarrassed at a recital given
    by a HH and some unisons came unglued.

    Musicians Hearing Protectors (pick your brand and/or supplier) should be
    packed in your tools before the tuning hammer.  They are more important to 
    your career than your tuning lever, your ETD or any other tools you think
    are essential.

    This same goes for the pianists.  I'm trying to convince our students to get
    hearing protection before they have advance tinnitus and hearing loss. 
    Practicing on a Steinway "L" or "B" in a 10' x 12' room for 5 hours will do
    damage.  One student was starting to hear buzzes after long practice
    sessions so he finally went to an audiologist and got the hearing 
    protectors.  His ears have recovered.  Some are not so fortunate.

    dave


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