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PRACTICAL PIANO TUNING
By ALEXANDER HART
Formerly with Steinway & Sons Tuning Department, Instructor
Piano Tuning, Teachers College, Columbia University, N. Y.
Registered Member of the
National Association of Piano Tuners
Notes of Interest on Tuning
ost of the technician's ability lies
in the direction of keeping a piano
in fine workable order, that is, to stop
squeaks in the action, the keys not quite
returning to normal, rattling, and click-
ing sounds that tend to annoy any listen-
er who loves music.
It often happens, no matter how care-
ful one tries to he, there is a probability
of overlooking something that should
have been taken care of even at the ex-
pense of extra time. Don't let it happen
to you.
I don't know whether you have taken
note of the fact, that there are custom-
ers who try out your work, or test the
tuning for any errors. Some, however,
watch every move you make. If you
happen to extract some money from
under the keys (that doesn't happen too
often) the lady of the house look for
the change, and furthermore should a
chance come your way to fix a sticking
key (during the looking-on process), by
just taking two seconds to remove the
penny that caused some trouble, our
good friend observing interestingly, and
watching every move you make, will
remark—"Oh, how quick!"
Here let me point out, offtimes these
lookers on have no idea how far you
have traveled, the time it has taken to
know where and when to find the trouble
and so on, but just put two and two
together. Then they remark—"You are
not charging me for just removing the
penny, are you?"
But, get paid for your knowledge.
Charge, but do not overcharge.
It is true, some musical cranks expect
the impossible, yet sometimes they are
right and you must learn to take it. For
instance, let us say that there is a slight
buzz somewhere around the piano and
the madam hears it. Try your best to lo-
cate it without argument. I will admit
the noise is slight, and please do not be
offended if I should say the complain-
ing "ear" might be better than yours.
Some people have a keen sense of hear-
ing the slightest sound whether scratchy
or rubbing, etc. (However, one must use
THE MUSIC TRADE REVIEW, OCTOBER, 1952
tact and try to leave the customer sat-
isfied—it can be done).
Over-particular patrons will inspect
your work in a sincere manner. They
will start from the lower end of the
keyboard, then sound every key. They
go to the 88th. not listening for not
exactly for tuning but for something
you yourself might have overlooked,
maybe through unnecessary conversa-
tion, or you did not (as the customer
did) try each note up the scale and
listen yourself for scratchy sounds,
clocks, rattles or sympathetic vibrations,
i.e., noises outside of the instrument.
It is not improbable that one could
have overlooked one whippen flange
screw, because if the screw is not tight
the whippen will drop on the capston
screw, and cause a rattling sound. These
small happenings may be summed up
as incidentals.
A fine piano deserves careful consid-
eration in every respect, regardless of
time, for it takes the same amount of
time to do a good job. as a bad job.
Manual Arts Furn. Co. Stales
Position on Piano Benches
In view of certain changes in the
manufacture of piano benches which
were announced last month Hubert S.
Shearin, Secretary and Treasurer of the
Manual Arts Furniture Co., Cincinnati,
Ohio has sent the following letter to the
trade:
"Recently announced changes in the
piano bench industry seem to make ad-
visable a statement of our position. We
wjll continue to fill the requirements of
piano dealers of workmanship, correct
color and design matching, and prompt
shipment of orders.
"Our pre-eminence in this industry
has been achieved through your ac-
ceptance of our products and through
our limiting our efforts to serving the
music industry. We have concentrated
our production on piano and organ
benches, chairs, and music cabinets and,
thus through the undivided attention to
your needs, have been able to merit your
business. We shall continue that pro-
cedure.
"Our production plans for the months
to come have been made at a higher
level than ever before. We shall be
glad to serve all piano dealers, giving
prompt attention. If you do not find a
copy of our current Catalogue N. 48 in
your file, write us for a copy."
Dr. A. F. Knoblaugh Named
Associate Professor of U. of C.
Dr. Armand F. Knoblaugh, Baldwin
research physicist, of the Baldwin
Piano Co., Cincinnati, Ohio has been
named associate professor of physics
in the University of Cincinnati College
of Liberal Arts. His appointment was
announced on September 16th at the
University.
Graduate of UC and former member
of its faculty, Dr. Knoblaugh since
1930 has done a large amount of re-
search and development work on pianos
and new types of musical instruments.
Dr. Knoblaugh received the degrees
of bachelor of science in chemical en-
gineering (1925), master of arts (1927)
and doctor of philosophy (1929) from
University of Cincinnati.
From 1925 to 1932 he carried on
various types of research at the Uni-
versity and since 1932 has been with
the Baldwin Co., where he carried out
many important developments in musi-
cal instruments.
During the war, with the Baldwin
Co. devoting its operations to defense
projects, Dr. Knoblaugh made several
contributions to that program. He has
more than a dozen patents to his credit
in a variety of fields, with several pat-
ents pending.
Native of Cincinnati, he is married
and lives with his family in that city.
His daughter, Joan, was graduated in
June from the UC Teachers College and
his son, Richard, the same month from
Hughes High School. Joan and Dr.
Knoblaugh also are Hughes graduates.