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<DIV><FONT face=Arial size=2>Hi Susan,</FONT></DIV>
<DIV><FONT face=Arial size=2>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></FONT></DIV>
<DIV><FONT face=Arial size=2>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.</FONT></DIV>
<DIV><FONT face=Arial size=2>10 years or so later I had Mike =
Swendsen make the
design you mention for me.</FONT></DIV>
<DIV><FONT face=Arial size=2>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.</FONT></DIV>
<DIV>Joe Goss<BR><A
href="mailto:imatunr@srvinet.com">imatunr@srvinet.com</A><BR><A
href="http://www.mothergoosetools.com">www.mothergoosetools.com</A></DI=
V>
<BLOCKQUOTE dir=ltr
style="PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
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<DIV style="FONT: 10pt arial">----- Original Message ----- </DIV>
<DIV
style="BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: =
black"><B>From:</B>
<A title=ssclabr8@flash.net href="mailto:ssclabr8@flash.net">SUSAN =
P
SWEARINGEN</A> </DIV>
<DIV style="FONT: 10pt arial"><B>To:</B> <A =
title=pianotech@ptg.org
href="mailto:pianotech@ptg.org">pianotech@ptg.org</A> </DIV>
<DIV style="FONT: 10pt arial"><B>Sent:</B> Sunday, June 16, 2002 =
3:54 PM</DIV>
<DIV style="FONT: 10pt arial"><B>Subject:</B> Re: Tuning Hammer and =
Technique
for Novice</DIV>
<DIV><BR></DIV>
<DIV><FONT face=Arial size=2>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.</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV><FONT face=Arial size=2>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.</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV><FONT face=Arial size=2>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). </FONT></DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV><FONT face=Arial size=2>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.</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV><FONT face=Arial size=2>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.</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV><FONT face=Arial size=2>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.</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV><FONT face=Arial size=2>I would love to hear additional =
comments on
this.</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV><FONT face=Arial size=2>Corte Swearingen</FONT></DIV>
<BLOCKQUOTE
style="PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
<DIV style="FONT: 10pt arial">----- Original Message ----- </DIV>
<DIV
style="BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: =
black"><B>From:</B>
<A title=Billbrpt@AOL.COM
href="mailto:Billbrpt@AOL.COM">Billbrpt@AOL.COM</A> </DIV>
<DIV style="FONT: 10pt arial"><B>To:</B> <A =
title=pianotech@ptg.org
href="mailto:pianotech@ptg.org">pianotech@ptg.org</A> </DIV>
<DIV style="FONT: 10pt arial"><B>Sent:</B> Sunday, June 16, 2002 =
12:10
PM</DIV>
<DIV style="FONT: 10pt arial"><B>Subject:</B> Tuning Hammer and =
Technique
for Novice</DIV>
<DIV><BR></DIV><FONT face=arial,helvetica><FONT size=2>List,
<BR><BR>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. <BR><BR>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. =
<BR><BR>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. <BR><BR>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. =
<BR><BR>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. <BR><BR>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. <BR><BR>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.
<BR><BR>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? <BR><BR>Bill Bremmer RPT <BR>Madison, Wisconsin =
<BR><A
href="http://www.billbremmer.com/">Click here: -=w w w . b i l l =
b r e m m e
r . c o m =-</A> =
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