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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
technicians 1 problems arc
far from being removed when the
instrument has been tuned. Many ex-
ceedingly capable tuners may not have
had a chance to study player attach-
ment mechanisms like the Duo Art or
the Ampico. Out of a clear sky you
may be asked to repair or remove one.
In either case, common sense prevails.
First let me say, repairing a player
attachment, especially those just men-
tioned, is not the work of a novice.
Nevertheless, as I have said many
times, some technicians can adapt
themselves to many conditions and be
good at it.
Secondly, to remove the mechanism
entirely out of the case is. compara-
tively speaking, not too difficult. In or-
der to do this in workmanlike manner,
let me suggest (A) have an assistant
to give you a hand, because the motor
and bellows, in fact all the parts and
various connections, are heavy and one
must be careful not to get hurt. (B)
The top action in the Duo Art is situ-
ated above the keys. It is fastened to
the striking pneumatics assembled un-
der the keybed with the aid of what is
technically called junction blocks. (C)
There are many screws to be taken off
these blocks, so fitted that the key
frame will ride smooth and create a
softer tone. There are three of these
blocks, the center one need not be
removed entirely, because it is im-
portant when reattached there will no
trouble with the smooth sliding on key-
bed.
It would be well to check on all the
regulating requirements on the action
before tightening up junction blocks.
It cannot be mentioned too often that
interfering (without thinking), i.e..
turning the balance rail studs to deep-
en the touch. In case it is on tin- shal-
low side, you can help the cause along
bv the use of the capston screw, and
this will shorten the "blow".
Don't forget to examine the trap
work, as this above everything must be
THE MUSIC TRADE REVIEW, NOVEMBER, 1953
looked after before fastening up the
lyre.
Go over the whippens thoroughly for
squeaks.
Always bear in mind the junction
blocks, when they have been replaced,
you cannot remove the action without
first taking all the screws out once
again.
The Ampico mechanism is different,
and besides you do not have to go
through any of the proceedures you
did with the Duo Art.
The tracker bar is situated under the
keybed in a draw that can be pulled
forward sufficiently to allow screws to
be taken out under keyslip, likewise
the blocks can be removed and the pi-
ano action can be drawn out without
any exertion.
Be cautious, i.e., before attempting
to pull the action out, look at the ham-
mers and see if they are all resting
on .the hammer rail. Ofttimes a few
sluggish ones may fool you and there
you are with a broken shank on your
hands.
Of course, they can be mended in a
hurry with brass sleeves.
This, however, is not good practice.
They were invented to be used in case
of emergency.
I doubt if an action would look well
with a dozen brass sleeves scattered
around where new shanks should be
there instead.
One should not be without these
sleeves that can be purchased at all the
piano supply houses. When you find a
broken catch, i.e.. a short piece of ham-
mer shank glued in the butt, for the
back check to catch. This particular
regulating procedure needs no lengthy
comment, for without these two regu-
lating parts, the upright or grand ac-
tion would function at its best.
An indispensable tool can be counted
on to prove itself in many emergencies.
One in particular, let us say. a broken
catch. If the stem is just split, it can
be glued and reinforced with a sleeve
that must be sawed to make it a little
shorter. However, if the same is broken
off short, no alternative but to bore out
for a new hole and repair it. The fast-
est method is to replace the old butt
with a new one.
Don't be without a hack saw. or
butts, hammer, shanks, jacks, flanges
and strings.
Henry Z. Steinway Addresses
New York Chapter of the ASPT
At the October meeting of the New
York Chapter of the American Society
of Piano Technicians, Henry Z. Stein-
way of Steinway & Sons was the guest
speaker. Mr. Steinway gave a history
of the Steinway family, ups and downs
of the business and among other things
pointed out that concerted action in a
matter of selling is as important now
as it was back in 1853 when Steinway
& Sons was founded.
He gave the guests a brief preview
of a book, soon to be published by
Theodore E. Steinway, President of the
company, entitled "People and Pianos
— A Century of Service to Music —
1853-1953." This book is in commem-
oration of the centennial which is now
being celebrated by Steinway & Sons.
Mr. Steinway explained that it con-
tained a chapter on "Scientific Piano
Making", a chapter for any good piano
technician to read.
Other members of the Steinway staff"
were R. W. Freimuth, retail manager
of the piano salon on 57th Street, and
William Saeger. Mrs. Henry Steinway
was also present.
Salter at November Meeting
At the November meeting Hershel
Salter, manager of the Mason & Ham-
lin. New York salon was the speaker.
Mr. Salter was accompanied by
James Fgan, one of the company's
technicians. Between them, they held
the interest of the large group present,
for at least an hour and a half. Every-
one showed keen interest as a model of
{Turn to Col. 3, Pg. 26)
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