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<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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