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THE MUSIC TRADE
10
U-,
REVIEW
OuTTECHNlCAL DEPARTMENT
CONDUCTED BY WILLIAM BRAID WHITE
ably unfavorable. People judge by appearances,
and no doubt often judge wrongly; but that is no
(Third and last article.)
excuse for creating bad appearances. Then again,
We have talked (or at least I have talked, figu- the use of the best tools in the best order in itself
ratively, and you have, metaphorically, listened) involves a distinct advantage, if for no other rea-
about tuning hammers, about wedges and about son than that the effect of working in such con-
needle holders or felt-pickers, as these latter are ditions is to oneself definitely inspiring. There-
sometimes, but very wrongly, called. When I be- fore, say I, use the best tools and avoid skimping,
gan I expected to finish all I had to say on the either as to quantity or quality.
subject in one article, but the one stretched to two,
While I am speaking of this matter, however, let
and the two to three. Now, this third instalment me say a word that may annoy some of my read-
of a discussion on a subject both interesting and ers but which I think to be timely. That very con-
important shall close the topic for the time being. venient sort of tool called "automatic screw-driver' :
Besides the tuning hammer, the wedges, the is a very nice tool to have, but at the same time it is
tuning forks and the felt-picker, the tuner ought a very dangerous tool unless one uses it with dis-
to possess a number of other special tools. I say cretion at all times. The automatic screw-driver is
"special" to distinguish them from the general very useful for driving or withdrawing a large
mechanics' implements, such as pliers and screw- number of screws when time and patience are at
drivers, or drills and clamps. Even the latter, of
a minimum, and without doubt is a considerable
course, are often special in shape to accommodate saver of time and trouble. But where accuracy
the peculiar needs of the tuner. However, to speak and light touch are required as well as rapidity, the
ci the special tools first, I should say that every automatic is not a good tool. For example, noth-
one ought to possess at least the following long ing seems more natural than that one should use
and short regulating screw-drivers:
ar> automatic screw-driver on the pouch board of a
Regulating screw-driver for grand actions player action to withdraw and replace the large
(small), screw-holder, key-easing pliers, key-spacer, number of screws always found in this place. Yet
spoon bender, damper spring bender, action wire one finds by experiment that the effect of using
bender, hexagonal wrench for Steinway capstans, this form of screw-driver is inevitably to force the
capstan turning wire, steel-wire-cutting pliers, string screws and strip the threads in the wood. Now,
gauge, string lifter, T-hammer, hammer stem ex- anybody knows that if one does this in only a few
cases the result is a leaky vacuum chest. A simi-
tractor.
These are special tools, of course, and have lar condition potentially exists in every part of the
no value outside the tuner's professional work. player action, and therefore it is not too much to
Nevertheless, he must also have screw-drivers, say that the automatic screw-driver ought not to
pliers, wrenches, and hammers, such, as all good be used for player work at all, certainly not but-
mechanics use. I counsel the use of at least four side the factory.
screw-drivers, heavy, medium, light, and very light.
Of course, what I am saying does not apply with
The first should have at least a ten-inch blade, and such definite force to the straight piano in any of
the second may be quite as long. The third may its parts, but except when it is a question of put-
be eight inches and the fourth six. Pliers should ting in a great many screws as rapidly as possible
include one parallel, one flat nose, one round nose, the tuner will find that he can always do his best
and one quite small and light, with pointed nose. work with the old-fashioned tool.
Whatever you do, avoid the foolish mistake of
On the General Use of Tools.
trying to economize on screw-drivers and pliers,
Tuners are not, as a rule, distinguished for me-
either as to cost or quantity. Not to have the
chanical aptitude, and it is a fortunate thing that
right tool at hand is to be unable to do the job
the regulation of piano actions and the adjustment
as it should be done. Moreover, a fine, well-kept
of player mechanism are relatively such simple
tool outfit always predisposes the customer fav-
matters. If it were necessary for tuners to pos-
orably. As to quality, the man who is foolish
sess really delicate mechanical ability, the stand-
enough to try to get along with poor, cheap tools
ard of work in the profession would be lower than
h foolish enough for almost anything. After all,
it is. There are, of course, exceptions, but the fact
the difference in the investment is a matter of so
is that usually the good tutfer is a poor hand at
small an amount of money that there is left not
mechanical work. Contrariwise, the good me-
a single legitimate excuse for skimping quality or
chanic is usually but a passable hand at tuning.
quantity.
For these and similar reasons one finds that tuners
Combination tool-holders which will carry suc- only too often are guilty of sins of omission and of
cessively, as required, all the screw-driver blades commission that tend to react disastrously upon
and action bending tools that the tuner needs, are the accuracy of their mechanical work. Slovenly
very convenient from the standpoint of weight- handling of tools is one of the most flagrant of these
sr.ving, but for almost every other reason they are sins. By the use of this term I mean to imply such
more nuisance than they are worth. I prefer the handling as fails to get the most out of each im-
old-fashioned plan of a separate handle for each plement or produce the required effect with a mini-
tool, the handle in each case being graduated to the mum of wasted energy. Let me, in a casual sort
size of the tool. This is the really right way to do of way, suggest some of the right, as opposed to
things; if one does not. mind the extra weight.
wrong, methods of tool manipulation, as these
Nickel-plated finish I confess to liking very h-?.ve been found in my own experience. I shall
much, because tools are in this way kept free from adopt for convenience the imperative mood:
rust and discoloration. One may be able to do as
Always use a screw-driver adapted to the work in
good work with tools all rusty and dirty looking,
hand. Do not use a small driver for big work, or
but the appearance of the thing is very bad and
vice versa. Above all remember that the time
the impression on the customer is, therefore, prob-
taken in picking out the right tool is saved always
in greater ease, rapidity and accuracy of work.
Use a screw-holder whenever screws have to be
placed in out-of-the-way positions. To mess
BIG PROFITS
around trying to get a screw in a place where one's
In ev.ery city are countless opportunities for
fingers will not reach is absurd and wasteful, not
you to make "big money." Put our actior. into
to mention time consuming.
the DEAD pianos of your city. Easy to install.
Carry a small hand vise with you and save time
Low price. Exclusive proposition. Write to-day.
and temper by having means for holding tightly
JENKINSON PLAYER CO.
any work that has to be drilled or otherwise
913 Elm Street
Cincinnati, Ohio
treated.
THE TUNER'S TOOLS.
Makes Players out of Pianos
Avoid the silly and dangerous practice of trying
to work out loose hammer stems by shaking and
twisting. Use a hammer stem extractor and do the
v ork properly.
A good steel straight-edge, made as light and
fine as may be practicable, will save much guess-
work and bad alignment.
When one has a very tight screw to loosen and
the screw-driver will not bite, for any reason,
tighten a small Stillson wrench on the driver blade,
as near as possible to the work, and use the lever-
age of this.
Do not try to see into dark places by poking
about the screw-driver. Use a pocket electric
flashlight and be accurate.
When you have a hole to drill in hard wood do
not run the risk of breaking off the drill half way
by neglecting to keep it lubricated. Dip the drill
in a piece of soap before starting to work, and if
the operation is long keep the drill cool by rcdip-
piag it from time to time.
Saws work much more easily if oiled before use.
Jf you have to use a plane (and you should have
a small Stanley steel jack plane with you), sec to
it that the blade is kept sharp. To do this, re-
member that the sharpening must always be to a
f!r.t, long bevel. See, therefore, that the blade is
held on the oil stone steadily, so as not to round
off the flat bevel of the cutting edge.
Don't try to plane dead against the grain, espe-
cially when you have hard wood to deal with.
To cut felt, a very sharp knife is needed, and it
will be found that the cutting soon dulls the blade.
Don't try to cut felt with a dull blade.
Keep all your tools clean, sharp and in proper
order. A broken screw-driver blade, a dull knife
oi a rusty pair of pliers shows the inefficient work-
man.
All the above has been somewhat rambling, of
course, but it has its value, since it is based on
actual experience. Tuners, as I said before, are
not usually the best of mechanics, and many of
them are decidedly inferior in this respect, and a
few hints will perhaps not be out of place. Any-
how, my intentions are good, and if some of my
more experienced readers feel that I have been
talking in kindergarten style, I shall consider them
hypercritics; wherefore, in anticipation, I now pro-
claim them hereby duly banned as such by me.
Communications for this department should be
addressed to William Braid White, care of The
Music Trade Review, New York City.
THE BALDWIN PIANO IN CONCERT.
Excellent Advertising Copy Made Out of Selec-
tion of That Instrument by Carl Friedberg.
(Special to The Review.)
INDIANAPOLIS, IND., March 11.-—The popularity
of the Baldwin piano for concert use is being fea-
tured in advertising by the Baldwin Piano Co.
Carl Friedberg will use the Baldwin in a concert
which will be given Wednesday, March 15, at
Holenbeck Hall, under the auspices of the Indian-
apolis Matinee Musical.
The Baldwin Co.'s advertising points out that
Friedberg selected the Baldwin piano after a thor-
ough study of all artistic pianos. "Wherever pianos
are used the Baldwin should stand at the front,"
the advertisements quote Friedberg in voicing his
admiration for the Baldwin.
FAUST SCHOOL OF TUNING
Piano, Player-Piano, Pipe and Reed Organ Tuning and Re-
pairing, also Regulating, Voicing, Varnishing and Polishing
This formerly was the tuning department of the New
England Conservatory of Music, and Oliver C. Faust was
head of the department for 20 years previous to its dis-
continuance.
Courses in mathematical piano scale construction and
drafting of same have been added.
Pupils have daily practise in Chickering & Sons' factory.
Year Book sent free upon request.
27-29 GAINSBOROUGH ST., BOSTON, MASS.