<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN"> <HTML><HEAD> <META http-equiv=Content-Type content="text/html; charset=iso-8859-1"> <META content="MSHTML 6.00.2800.1555" name=GENERATOR> <STYLE></STYLE> </HEAD> <BODY bgColor=#ffffff> <DIV><FONT face=Arial size=2>Hi Kurt,</FONT></DIV> <DIV><FONT face=Arial size=2>If you can not feel the pin move on ANY piano it may be the Hammer you are using!!!</FONT></DIV> <DIV><FONT face=Arial size=2>For me there are still  some pianos that do not give me the real sense of when the pin moves.</FONT></DIV> <DIV><FONT face=Arial size=2>Most often on ones that have been treated with either Garfields or Langford pin tightner.</FONT></DIV> <DIV><FONT face=Arial size=2>Some of todays pianos are so tight when new,</FONT></DIV> <DIV><FONT face=Arial size=2> that the pin head seems to rotate 5 degrees before the bottom finally snaps forward.</FONT></DIV> <DIV><FONT face=Arial size=2>Sometimes lowering the pitch the first pop seems to make the pin turn more like I would like it to.</FONT></DIV> <DIV><FONT face=Arial size=2></FONT> </DIV> <DIV><FONT face=Arial size=2>There is a reason that older techs mention 1000 pianos as a plateau. Thats about 280,000 tuning pins that you have turned to learn the feel. And it is different from the bass to C8. At least for me. The upper treble is almost like you can only think the pop and setteling the pin confirms that it is. Get Ken Burtons 'Different Strokes'. It will give you a lot of ideas to try on different pianos.</FONT></DIV> <DIV><FONT face=Arial size=2>Jerk Tuner</FONT></DIV> <DIV><FONT face=Arial size=2>BTW what is the difference between a slow pull and a jerk when refering to tuning style? Answer below your post.</FONT></DIV> <DIV>Joe Goss RPT<BR>Mother Goose Tools<BR><A href="mailto:imatunr@srvinet.com">imatunr@srvinet.com</A><BR><A href="http://www.mothergoosetools.com">www.mothergoosetools.com</A></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=fortefile@gmail.com href="mailto:fortefile@gmail.com">kurt baxter</A> </DIV> <DIV style="FONT: 10pt arial"><B>To:</B> <A title=pianotech@ptg.org href="mailto:pianotech@ptg.org">Pianotech List</A> </DIV> <DIV style="FONT: 10pt arial"><B>Sent:</B> Friday, March 28, 2008 3:52 PM</DIV> <DIV style="FONT: 10pt arial"><B>Subject:</B> "pin set", test blows, string segment tension balance: Reality Check?</DIV> <DIV><BR></DIV> <DIV>I am looking for some clarity on the issue of settling a string/pin<BR>in order to hold a solid unison.<BR><BR>When it comes to string stability, test blows, "pin set" technique,<BR>pin twisting, pin flagpolling etc...<BR><BR>What do we actually KNOW about what is going on, and how do we know it?<BR><BR>I hear techs with various (and often conflicting) personal stories and<BR>myths that seem to work for them, and often make intuitive sense on some<BR>level, but how do we separate verifiable reality from what seems to be<BR>simply "dogma" of the trade?<BR><BR>What actual empirical evidence do we have, and how can that be applied<BR>to tuning hammer technique?</DIV> <DIV> </DIV> <DIV><FONT face=Arial size=2>ABOUT 5 SECONDS PER PIN</FONT></DIV> <DIV> </DIV> <DIV><FONT face=Arial size=2></FONT><BR><BR><BR><BR>[kurt]<BR></DIV></BLOCKQUOTE></BODY></HTML>