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PRACTICAL PIANO TUNING
By ALEXANDER HART
Formerly with Steinway & Sons Tuning Department, Instructor In
Piano Tuning, Teachers College, Columbia University, N. Y.
Registered Member of the
National Association of Piano Tuners
Notes of Interest on Tuning
NE of the important phases of a
O
piano technician's work that ties
in without a doubt is tone regulating,
and not just a few jabs here or there
with needless, or puncturing the felt.
So that all the tones throughout the
keyboard will have the same pattern of
rich quality that is inherent in some
fine makes of pianos, many piano man-
ufacturers have their own formula re-
garding how this kind of work must be
done.
Tone production begins with the
framework or foundation. Next comes
the wrest plank or pin block.
It is quite evident, however, that the
more one is better fitted and proficient
in the branches leading up to the fin-
ishing touches of piano construction,
he cannot go wrong when it comes to
voicing or the regulation of tone and
action.
Interfering with the regulating pro-
cedures that often tend to upset the
various relationships; especially whip-
pens, a medium between the keys and
hammers; it would be well to note how
important it is to have some knowledge
of action-finishing, regulating and es-
pecially tuning.
Tone regulators skilled in the art,
is indeed an accomplishment to be
proud of.
Requirements
Next comes the soundboard, then the
bridge. Then comes the plate and so
on. Only some of the pioneers have
originated and constructed a piano up
to this point.
The Strings
The tone regulator having done some
stringing would have an idea of tone
quality for the strings are more vital-
ly concerned in production of tone
than any other part of the mechanism.
The strings produce the tone; the
soundboard resonates.
Now comes the hammers that strike
the strings and put them in vibration.
THE MUSIC TRADE REVIEW, OCTOBER, 1953
the dampers stopping continued vibrat-
ing.
Let us bypass the making of fine pi-
ano hammers, its production of felt
quality, etc.
Action Finishing and Regulating
This is a special requirement for the
advancement of a tone regulator. Ac-
tion finishing is surely an asset for
understanding how a piano is put to-
gether.
W hen the tone regulator receives the
instrument, he is about to work on. it
is presumed to be in the following or-
der, viz.—
1. The hammers have been nicely
spaced to the string.
2. The whippens also squared in
proper order, especially under
knudes.
3. The action should be set to such
height as hammer to string—1/8
above level at hammer end; a
procedure ofttimes decided by
the foreman.
4. The capstan screw 17 S from
string. This also is somewhat at
variance when it comes to a final
decision.
5. The adjust of the rail screw that
the jacks are pulled from under
butt knuckle when hammer is
scant J/K" from string.
6. The butt stop screw an important
adjustment.
7. Correcting inaccuracies around
the hammer rail.
8. Regulation of the jacks under
the knudes of butts.
9. Checking of the springs also an
important and delicate proced-
ure.
10. Setting of the jacks.
11. The whippen in its entirety needs
thorough understanding.
There are so many items of proced-
ures, it would take a volume or two
to give all the fine details pertaining to
a tone regulator's requirements.
He can also be called an overseer--
an inspector or a supervisor.
Counsel: It sometimes pays off to
keep your hand off.
A summary of what has been said
must be taken as a suggestion that "it's
not all gold that glitters'".
The artistic regulation of tone and
action calls for technical, as well as
practical experience at the work bench.
There's no other way out.
What's the reason for stressing this
point? Well, practice to be accurate
in all details, especially the mechanical
contrivances of the whippen. One de-
siring to aspire in the direction of por-
trait painting would not advance to
becoming a professional by just being
presented with a box of paints and the
angles and measurements without prac-
tice.
Similarly all about the "Let Off",
hammer blow, touch dip—an after
touch -as I have just said, a bench is
a place to put the action on to work
on. and know what's what, what the
action it. what it does and what means
to understand the one great object for
which a piano is made is its tone.
New York Members of A.S.P.T.
Plan to to Attend Convention
At the regular monthly meeting of
the New York Chapter of the A.S.P.T.
held in Steinway Hall. N. Y. C. on
Monday evening, Sept. 14th. President,
Krwin Olto, again elected unanimous-
ly to retain his position for the coming
term ending in Sept. 1954. Other offi-
cers were also retained for a second
term with the exception of the Vice
President, this position now being filled
by William H. Gieseler of Pearl Hiver,
N. Y. Other officers are Treasurer,
Bernard Brown and Secretary, Arthur
L. Cray.
The American Piano Supply Co. of
New York City, became an associate
member. Joseph Duze. of Bayside.
N. Y. was accepted to an apprentice
membership.
President Otto read a letter concern-
ing the coming Regional Convention to
be held in Washington. D. C. during
the month of October.
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