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<DIV><FONT face=Arial size=2>Good post John.</FONT></DIV>
<DIV><FONT face=Arial size=2>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.</FONT></DIV>
<DIV><FONT face=Arial size=2>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.</FONT> </DIV>
<DIV><FONT face=Arial size=2>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.</FONT></DIV>
<DIV><FONT face=Arial size=2>Tom Servinsky</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=formsma@gmail.com href="mailto:formsma@gmail.com">John Formsma</A>
</DIV>
<DIV style="FONT: 10pt arial"><B>To:</B> <A title=dporritt@smu.edu
href="mailto:dporritt@smu.edu">dporritt@smu.edu</A> ; <A
title=pianotech@ptg.org href="mailto:pianotech@ptg.org">Pianotech List</A>
</DIV>
<DIV style="FONT: 10pt arial"><B>Sent:</B> Saturday, June 09, 2007 3:56
PM</DIV>
<DIV style="FONT: 10pt arial"><B>Subject:</B> Tuning Softly - was Re:
Sanderson Accu-tuner</DIV>
<DIV><BR></DIV>I use fairly hard test blows for all pianos. I'm talking about
playing softly while manipulating the lever.<BR><BR>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. <BR><BR>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. :-) <BR><BR>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. <BR><BR>JF<BR><BR>
<DIV><SPAN class=gmail_quote>On 6/9/07, <B class=gmail_sendername>David M.
Porritt</B> <<A href="mailto:dporritt@smu.edu">dporritt@smu.edu</A>>
wrote:</SPAN>
<BLOCKQUOTE class=gmail_quote
style="PADDING-LEFT: 1ex; MARGIN: 0pt 0pt 0pt 0.8ex; BORDER-LEFT: rgb(204,204,204) 1px solid">Tuning
softly is usually fine for the home console used by the 9-year-old.<BR>It is
easier to hear. However, if you do concert work or tune for some
of<BR>the "heavy hitters" that can get you in to trouble. I used
to be an <BR>evangelist for soft tuning until I was quite embarrassed at a
recital given<BR>by a HH and some unisons came unglued.<BR><BR>Musicians
Hearing Protectors (pick your brand and/or supplier) should be<BR>packed in
your tools before the tuning hammer. They are more important to
<BR>your career than your tuning lever, your ETD or any other tools you
think<BR>are essential.<BR><BR>This same goes for the
pianists. I'm trying to convince our students to get<BR>hearing
protection before they have advance tinnitus and hearing loss.
<BR>Practicing on a Steinway "L" or "B" in a 10' x 12' room for 5 hours will
do<BR>damage. One student was starting to hear buzzes after long
practice<BR>sessions so he finally went to an audiologist and got the
hearing <BR>protectors. His ears have recovered. Some
are not so
fortunate.<BR><BR>dave<BR></BLOCKQUOTE></DIV><BR></BLOCKQUOTE></BODY></HTML>