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TECHNICALANDSUPPLY
DEPARTMENT
William Br aidW\\te f 7ecAmcal Editor
Tuners Should Be Better Mechanics—
A Missouri Tuner on the Hale Method
A West Virginia Tuner Urges a Wider Education of the Tuner in Regard to Mechanical Repair
Work, Claiming the Standard of Knowledge in This Direction Is Not High—Mathe-
matics of the Piano Scale a Necessary Part of the Tuners' Equipment
T
H E shortcomings of tuners are doubtless
as the sands of the sea, and it would ill
become any member of the craft to quar-
rel with those who, for the best of good
reasons, from time to time urge him to look to
his faults and redeem them. Criticism is al-
ways best of course when it comes from one
of the family, which is why I am glad of the
opportunity to publish the following trenchant
remarks from a West Virginia brother who has
something to say about the mechanical short-
comings of his confreres. Says he:
"In a recent number of The Review there
was a good article about replacing hammers in
pianos which was a plain explanation in detail,
leaving nothing to be guessed by an amateur
starting out in business. It was one of the best
in the line of mechanics I have seen for some
time. It reminds me of some of the books I
hav-e collected, from time to time, on various
technical subjects, from across the Atlantic.
Most of them are thorough on detail and ex-
plain things as it were in a kindergarten way,
telling not only why a thing should be done
thus and so, but giving the most explicit and
detailed instruction how to do it.
One Authority
"I remember once reading one authority who
said (if I remember correctly) that 'about
nine-tenths of the tuners knew practically
nothing about mechanical work on piano ac-
tions, etc., when repairs are necessary.' Speak-
ing in general, I believe the statement is true,
and I should like to suggest that you give us
articles from time to time, containing a
thorough drilling on mechanical engineering,
not leaving out the slightest detail, as to the
hows and whys of doing things, especially how
to use and manipulate the different tools, etc., in
the piano line.
"Tuners who would succeed must, in fu-
ture, be mechanics as well as technicians in
sound.
: "Thousands of tuners have fine lay-outs of
tools, but do not know how to use them. That
may seem like a broad statement, but I, believe
it is true. Say to one, 'take your key spacer
and space that key,' to another, 'adjust those
keys with your key pliers, get your regulating
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tools and regulate the dampers, buttons, jacks,
etc., in the action.'
"Out of 100 you would be surprised to sec
the number who know practically nothing as
to how to perform these operations.
"For the general good of the tuners, mechani-
cians and repairmen, I would like you, together
with other technicians, to teach men out on the
line to be better and more proficient in ad-
justments and the proper use of tools.—B. D.
Snyder, Hedgesville, West Virginia."
Comment
The brother is severe, but he would be a very
bold man who would say that the accusation is
baseless. The truth is that the craft has al-
ways been distinguished for its slovenliness and
inaccuracy in matters of fine tool handling and,
indeed, in whatever it has to do with the
mechanical side of the piano. Now it is not al-
ways recognized that the piano is not merely a
box of strings but a mechanical achievement
of the highest and most exquisite delicacy. Few
engineers have the slightest idea of the beauty
and complexity of the piano. Few men who
are not actually in the manufacture itself, in-
deed, have any adequate notion of how highly
organized, how delicate and how beautifully
designed are the mechanical moving parts of
this king of musical instruments. Now, such
ignorance may be excusable in outsiders, but it
is inexcusable among professed experts. Tun-
ers in general are very bad piano mechanics.
For this state of affairs there are indeed many
explanations, which moreover lose nothing
through their very baldness. It has been im-
possible in the past to expose the craft thor-
oughly to technical training, simply because the
factories which should be the nurseries of such
training have never been either able or willing
to do anything adequate in this way. This de-
partment in The Review represents, along with
the Tuners Journal, the only serious attempt
William Braid White
Associate, American Society of Mechanical Engi-
neer!; Chairman, Wood Industries Division, A. S.
M. B . ; Member, American Physical Society; Mem-
ber, National Piano Technicians' Association.
Consulting Engineer to
the Piano Industry
Tonally and Mechanically Correct Scales
Tonal and Technical 8urr*ys of Product
Tonal Betterment Work in Factories
ever made to maintain a fund of technical in-
formation in the subjects we are considering,
and, of course, The Review's efforts long ante-
date all others. Personally, nothing pleases me
better than to find out what readers need and
then do my best to supply accordingly. If,
then, readers feel that they would like to get
more mechanical articles on regulating, etc.,
during the year, will they please write in, say
what they want, and be as specific as possible.
Then I may be in a fair position to see what
can be done. Let me have a lot of letters on
this point, if you please.
The Gentleman is From Missouri
"I have been studying the method set forth
by Mr. Hale for setting the temperament and
consider it good. Some may think I am partial
for the reason that I use a similar method. Mr.
Hale starts from C as his fundamental, but I
take F after starting from C, tuning the major
third, the major sixth, the minor third and the
minor sixth, also the fourth, tuning upwards
and downwards—when necessary in order to
stay within the compass of an octave.
"Mr. Murphy has recently commented on the
fourths and fifths method. This is all right
if it is properly done, for, of course, if the
fourths and fifths are properly tempered, the
thirds and sixths will come out right, but for
closely accurate work, towards which every
tuner should strive, I like Mr. Hale's method
better.
"On the other hand, I think that either Mr.
Hale's method or mine is more difficult for a
beginner, who should use one easier, at least
until he has become familiar with the beats. I
think that the fourths and fifths method is
easier for the beginner. I learned the fifth up-
wards method and used it for some time. I
consider it better for the beginner because there
are fewer impurities in the intervals and the
beats are slower.
"The fifths upward system, as I call it, is
worked in the two octaves from C 2 to C 4.
Each time you tune a fifth, you tune its octave
too, above or below as the case may be. But
for the advanced tuner, I prefer Mr. Hale's
method.
"I have learned through contact with them
that there are many fairly good tuners who
know nothing of the mathematics of the scale
and think such knowledge useless, save only
for scientific discussion. This is a serious mis-
take, and I think it would be well for you to
bring out in some number of The Review plain
figures of the beats in the major and minor
thirds and sixths. Some such discussion would
be very much to the advantage of the many
tuners who think it useless.—Missouri Tuner."
Comment
I wish that correspondents would send their
names always, for if a man wishes to appear
anonymous in the paper he only has to say so
and his wishes shall be respected. But let me
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