Music Trade Review
Issue: 1915 Vol. 61 N. 6 - Page 12
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THE
12
MUSIC
TRADE REVIEW
OiuTTECHNICAL DEPARTMENT
CONDUCTED BY WILLIAM BRAID WHITE.
TONE REGULATION.
Quite some time ago I wrote some articles on
tone regulation. They were not particularly good
articles, but they very largely bore upon a truth,
to know which is exceedingly good, namely: the
truth that tone-regulation begins with the drawing
of the scale and is only finished by the so-called
tone-regulator. But there is another and correla-
tive truth which is almost equally important,
namely, that in essentials the tone quality of a
piano is fixed when its manufacture is completed
and that no alteration can be made thereto—pro-
vided the hammers have once been worked over
thoroughly—that will not do considerably more
harm than good.
Now, if this be true, as I am asserting, it means
for one thing that the tuner with a weakness for
tone-regulating is placed in the position of having
to defend his peculiar methods. Unhappily, a
great many tuners are obsessed with this weak-
ness, and my immediate purpose in the present
article is to induce some serious thought among
them and others who may at any time be similarly
affected.
The fact is that a great deal too much tinkering
is done with the hammers of pianos by tuners.
Much of this tinkering is done quite with the best
intentions in the world; but as someone once said,
the road to hell is paved with good intentions. As
a good friend of mine, speaking of some of his
own good intentions, remarked the other day: "I
have always wondered whether good intentions
made good or bad paving materials. If they make
bad road metal, I hate to think what the Satanic
drivers are saying when they pass over the sev-
eral blocks of Main street for which I am re-
sponsible."
Exactly. And a great many of my tuning
friends also are responsible for long stretches of
the Avernan street system, if I mistake not, for
the number of pianos that have really been dam-
aged, if not spoiled, by the well-intentioned
monkeyings of well-intentioned tuners with
needles and sandpaper files, passes all enumeration.
This is a serious matter and one to be thought of
seriously, however, and it will be worth our while
to take a serious view of it.
Of course, I shall admit in the beginning that
a great many pianos are badly made and that the
tuner constantly has to deal with examples of this
type. He often finds, no doubt, that such pianos
have not been tone-regulated at all; by which I
mean (1) that the scale is faulty, the striking dis-
tances wrong and the hammers of poor material,
and (2) that no skill has been used in the attempt
to patch up the tone by working the hammers.
When a tuner finds something like this in his path
he is perfectly justified in attempting to remedy
the tonal defects, if he can. But even he had bet-
ter bethink him seriously whether he is likely to
do good or harm. Again, of course, if the ham-
mers have not been worked, then there is no harm,
and perhaps will be some good, in working them
over; but a piano in which the hammers are left
untouched is a piano pretty hopeless throughout.
This brings me to a phase of the subject which
received considerable attention in my recent ar-
ticles. The better the scale of the piano, the more
skilfully the piano is worked out and the more
carefully the hammers are made to fit the required
and anticipated tonal result, the less filing and
ironing and stabbing the tone-regulator need do.
PIANO KEYS BLEACHED
REPAIRED OR RECOVERED
Work Done in 6 to 12 Days
and Guaranteed
Send Us Your Keys by Parcels Post
JOB. IIIGLKB * SONS
M*nr«ertlle, O.
But, since a well-made piano naturally requires,
and is built to carry, hammers of given definite
shape and consistency, and seeing that the ham-
mer in the rough can never be perfect in these
respects, it follows that the tone-regulator has his
work, although in the latter case it is more deli-
cate and less radical than in the former.
Nevertheless, when a piano shows signs of being
carefully made otherwise but neglected in the
hammer-working, perhaps through ignorance of
the best way to set about getting the best results,
then the tuner, if he knows enough, may under-
take to improve the neglected work. But not
otherwise.
The cheap piano then, and the piano otherwise
good but neglected in this one department, offer
fair game to the tuner, provided he knows his
business. But it is not only ridiculous, it is a
crime, to mess with the hammers of an artistic
piano just because its tonal quality does not suit
you. That is a matter of taste, and you have no
right to proclaim your own taste better than any-
one else's unless you are prepared to demonstrate
your claims. Moreover, remember that the owner
of that piano very likely is in love with its tone
and positively does not want any other. So, be-
ware !
The true field for the exercise of the tuner's
talents in tone-regulation, then, lies in two direc-
tions : in completing work neglected in the factory
and in freshening up work once done but now
worn out, on old pianos. The two departments
are quite separate, and I should like to say a few
words about both.
Fundamentally, as we all know by this time,
the tone quality of a piano string is affected (1)
by the density of the hammer, (2) by the point of
contact, (3) by the density of the string, (4) by
the tension of the string. For the acoustical rea-
sons I must refer to other articles in this depart-
ment or to any of the text-books. Now we can-
not, as tone-regulators, affect (2), (3) or (4), and
we have only (1) left to us. The point of contact
can, of course, be slightly affected through the
shaping of the hammer, but this influence is indi-
rect, although not without importance.
The important things for the tone-regulator to
make certain are (1) that the hammer shall strike
a straight, firm blow, evenly on all strings; (2)
that the shape of the hammer shall be such as to
insure the point of its head coming directly on the
designated node of the string; (3) that the ham-
mer material shall be so worked as to insure
damping of the dissonant upper partials without
mushiness of blow.
The first requirement being dismissed as one in
which the procedure is obvious, we find that the
question of shaping is next in importance. The
hammer needs to be pointed so far as is possible.
At least there must not be a flat spot at the point
of contact, but the plainly pointed shape of the
treble hammers must be worked off down to a
shape corresponding to a broad ellipse in the mid-
dle and bass hammers. The avoidance of "flat
spots" at the point of contact is the great essen-
tial.
In shaping the hammer it is necessary to work
from the molding of the hammer forward to the
crown, and it is best not to touch the crown until
the last.
After the hammers are shaped it is time to begin
FAUST
SCHOOL OF TUNING
Piano, Player-Piano, Pipe and Reed Orfan Tuning and Re-
pairing, also Refnlatinj, Voicing, Varniihinj andPoliihlnf
This formerly was the tuning department of the New Eng-
land Conservatory of Music, and Oliver C. Faust was head
of that department for 20 years previous to its discontinu-
ance.
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.
working the material. And here caution is most
necessary, and above all an understanding of what
is really the mechanical function to be promoted.
The tone-quality of a string is mellow and round
in proportion as the partial tones of the string are
damped and eliminated above where they begin to
become dissonant. Now the first six partials and
the eighth are consonant; the seventh is really
midway between consonance and dissonance, as it
is not quite the same as the seventh used in the
musical scale, but at the same time has an agree-
able effect of its own when it can be used. How-
ever, all odd numbered partials above the ninth
are dissonant.
Now, the more the hammer clings to the string
after contact, the greater is the probability of
damping the partials above the eighth. It must be
remembered that the striking point is throughout
the greater part of the piano's register, properly
placed at from one-seventh to one-ninth the
length of the string; and to strike on a given node
is to eliminate the partials above that node unless
the rebound be instantaneous. Hence the tone-
regulator's problem is to provide a resilient cush-
ion in the hammer head, but not a mushy one.
Hence the great secret of good tone-regulating:
Work the inside of the hammer and leave the
outside hard. Likewise, don't touch the crown.
The same considerations apply to old pianos, of
course, with the exception that here the only work
that can rightly be done is to freshen up. Ham-
mers can be re-shaped as far as possible, and in
the end the re-shaping of the old hammers is really
the most important thing that the tuner can try to
do. The needlework is easiest done by picking
at the outside, but this is the one way I know to
destroy the hammer for good. Here, in fact, more
than ever, the tuner should be careful to do all his
needlework inside the hammer, striving to avoid
ou'side picking at all costs. I could say much
more, but I have said enough, perhaps, to show
the reader that this problem of tone regulation is
serious. Let me summarize:
1. Tone-regulation properly begins with the
drafting of the scale and is continued in the ac-
tion finishing and regulating. Unless the action
be rightly constructed and adjusted and the scale
rightly designed as to tensions, lengths and points
of string contact, the tone quality will never be
good.
2 The tone-regulator can only improve. He
must aim to secure a proper hammer-stroke, right
shape of the hammer and a resilient cushioned
surface, without mushiness.
:?. The tuner can only set right work that has
been done wrongly or neglected, in new pianos.
In old ones he can freshen up only.
Lastly. The sandpaper file and the needles are
excellent tools in the hands of the man who knows
when to use them and how to use them; and also
who knows when not to use them. In the hands
of the enthusiastic amateur or unskilled worker
they are comparable only with the deadliest
Tuners and Repairmen
Can make good money installing Jenkin-
ion'i Player-Action into used Pianos. Write
for catalogue.
JENK1NSON PLAYER CO.
912 Elm Street, Cincinnati, Ohio.
Polk's Piano Trade School
Piano,
14th YEAR
Player-Piano and Organ Tuning,
Repairing and Regulating
Most thoroughly equipped Piano Trade School in
U. S. Private instruction. Factory experience if de-
sired. Students assisted. Diplomas awarded. School
entire year. Endorsed by leading piano manufacturers
and dealers. Free catalogue.
C. C. POLK
Box 298 Valparaiso, Ind.
THE
12
MUSIC
TRADE REVIEW
OiuTTECHNICAL DEPARTMENT
CONDUCTED BY WILLIAM BRAID WHITE.
TONE REGULATION.
Quite some time ago I wrote some articles on
tone regulation. They were not particularly good
articles, but they very largely bore upon a truth,
to know which is exceedingly good, namely: the
truth that tone-regulation begins with the drawing
of the scale and is only finished by the so-called
tone-regulator. But there is another and correla-
tive truth which is almost equally important,
namely, that in essentials the tone quality of a
piano is fixed when its manufacture is completed
and that no alteration can be made thereto—pro-
vided the hammers have once been worked over
thoroughly—that will not do considerably more
harm than good.
Now, if this be true, as I am asserting, it means
for one thing that the tuner with a weakness for
tone-regulating is placed in the position of having
to defend his peculiar methods. Unhappily, a
great many tuners are obsessed with this weak-
ness, and my immediate purpose in the present
article is to induce some serious thought among
them and others who may at any time be similarly
affected.
The fact is that a great deal too much tinkering
is done with the hammers of pianos by tuners.
Much of this tinkering is done quite with the best
intentions in the world; but as someone once said,
the road to hell is paved with good intentions. As
a good friend of mine, speaking of some of his
own good intentions, remarked the other day: "I
have always wondered whether good intentions
made good or bad paving materials. If they make
bad road metal, I hate to think what the Satanic
drivers are saying when they pass over the sev-
eral blocks of Main street for which I am re-
sponsible."
Exactly. And a great many of my tuning
friends also are responsible for long stretches of
the Avernan street system, if I mistake not, for
the number of pianos that have really been dam-
aged, if not spoiled, by the well-intentioned
monkeyings of well-intentioned tuners with
needles and sandpaper files, passes all enumeration.
This is a serious matter and one to be thought of
seriously, however, and it will be worth our while
to take a serious view of it.
Of course, I shall admit in the beginning that
a great many pianos are badly made and that the
tuner constantly has to deal with examples of this
type. He often finds, no doubt, that such pianos
have not been tone-regulated at all; by which I
mean (1) that the scale is faulty, the striking dis-
tances wrong and the hammers of poor material,
and (2) that no skill has been used in the attempt
to patch up the tone by working the hammers.
When a tuner finds something like this in his path
he is perfectly justified in attempting to remedy
the tonal defects, if he can. But even he had bet-
ter bethink him seriously whether he is likely to
do good or harm. Again, of course, if the ham-
mers have not been worked, then there is no harm,
and perhaps will be some good, in working them
over; but a piano in which the hammers are left
untouched is a piano pretty hopeless throughout.
This brings me to a phase of the subject which
received considerable attention in my recent ar-
ticles. The better the scale of the piano, the more
skilfully the piano is worked out and the more
carefully the hammers are made to fit the required
and anticipated tonal result, the less filing and
ironing and stabbing the tone-regulator need do.
PIANO KEYS BLEACHED
REPAIRED OR RECOVERED
Work Done in 6 to 12 Days
and Guaranteed
Send Us Your Keys by Parcels Post
JOB. IIIGLKB * SONS
M*nr«ertlle, O.
But, since a well-made piano naturally requires,
and is built to carry, hammers of given definite
shape and consistency, and seeing that the ham-
mer in the rough can never be perfect in these
respects, it follows that the tone-regulator has his
work, although in the latter case it is more deli-
cate and less radical than in the former.
Nevertheless, when a piano shows signs of being
carefully made otherwise but neglected in the
hammer-working, perhaps through ignorance of
the best way to set about getting the best results,
then the tuner, if he knows enough, may under-
take to improve the neglected work. But not
otherwise.
The cheap piano then, and the piano otherwise
good but neglected in this one department, offer
fair game to the tuner, provided he knows his
business. But it is not only ridiculous, it is a
crime, to mess with the hammers of an artistic
piano just because its tonal quality does not suit
you. That is a matter of taste, and you have no
right to proclaim your own taste better than any-
one else's unless you are prepared to demonstrate
your claims. Moreover, remember that the owner
of that piano very likely is in love with its tone
and positively does not want any other. So, be-
ware !
The true field for the exercise of the tuner's
talents in tone-regulation, then, lies in two direc-
tions : in completing work neglected in the factory
and in freshening up work once done but now
worn out, on old pianos. The two departments
are quite separate, and I should like to say a few
words about both.
Fundamentally, as we all know by this time,
the tone quality of a piano string is affected (1)
by the density of the hammer, (2) by the point of
contact, (3) by the density of the string, (4) by
the tension of the string. For the acoustical rea-
sons I must refer to other articles in this depart-
ment or to any of the text-books. Now we can-
not, as tone-regulators, affect (2), (3) or (4), and
we have only (1) left to us. The point of contact
can, of course, be slightly affected through the
shaping of the hammer, but this influence is indi-
rect, although not without importance.
The important things for the tone-regulator to
make certain are (1) that the hammer shall strike
a straight, firm blow, evenly on all strings; (2)
that the shape of the hammer shall be such as to
insure the point of its head coming directly on the
designated node of the string; (3) that the ham-
mer material shall be so worked as to insure
damping of the dissonant upper partials without
mushiness of blow.
The first requirement being dismissed as one in
which the procedure is obvious, we find that the
question of shaping is next in importance. The
hammer needs to be pointed so far as is possible.
At least there must not be a flat spot at the point
of contact, but the plainly pointed shape of the
treble hammers must be worked off down to a
shape corresponding to a broad ellipse in the mid-
dle and bass hammers. The avoidance of "flat
spots" at the point of contact is the great essen-
tial.
In shaping the hammer it is necessary to work
from the molding of the hammer forward to the
crown, and it is best not to touch the crown until
the last.
After the hammers are shaped it is time to begin
FAUST
SCHOOL OF TUNING
Piano, Player-Piano, Pipe and Reed Orfan Tuning and Re-
pairing, also Refnlatinj, Voicing, Varniihinj andPoliihlnf
This formerly was the tuning department of the New Eng-
land Conservatory of Music, and Oliver C. Faust was head
of that department for 20 years previous to its discontinu-
ance.
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.
working the material. And here caution is most
necessary, and above all an understanding of what
is really the mechanical function to be promoted.
The tone-quality of a string is mellow and round
in proportion as the partial tones of the string are
damped and eliminated above where they begin to
become dissonant. Now the first six partials and
the eighth are consonant; the seventh is really
midway between consonance and dissonance, as it
is not quite the same as the seventh used in the
musical scale, but at the same time has an agree-
able effect of its own when it can be used. How-
ever, all odd numbered partials above the ninth
are dissonant.
Now, the more the hammer clings to the string
after contact, the greater is the probability of
damping the partials above the eighth. It must be
remembered that the striking point is throughout
the greater part of the piano's register, properly
placed at from one-seventh to one-ninth the
length of the string; and to strike on a given node
is to eliminate the partials above that node unless
the rebound be instantaneous. Hence the tone-
regulator's problem is to provide a resilient cush-
ion in the hammer head, but not a mushy one.
Hence the great secret of good tone-regulating:
Work the inside of the hammer and leave the
outside hard. Likewise, don't touch the crown.
The same considerations apply to old pianos, of
course, with the exception that here the only work
that can rightly be done is to freshen up. Ham-
mers can be re-shaped as far as possible, and in
the end the re-shaping of the old hammers is really
the most important thing that the tuner can try to
do. The needlework is easiest done by picking
at the outside, but this is the one way I know to
destroy the hammer for good. Here, in fact, more
than ever, the tuner should be careful to do all his
needlework inside the hammer, striving to avoid
ou'side picking at all costs. I could say much
more, but I have said enough, perhaps, to show
the reader that this problem of tone regulation is
serious. Let me summarize:
1. Tone-regulation properly begins with the
drafting of the scale and is continued in the ac-
tion finishing and regulating. Unless the action
be rightly constructed and adjusted and the scale
rightly designed as to tensions, lengths and points
of string contact, the tone quality will never be
good.
2 The tone-regulator can only improve. He
must aim to secure a proper hammer-stroke, right
shape of the hammer and a resilient cushioned
surface, without mushiness.
:?. The tuner can only set right work that has
been done wrongly or neglected, in new pianos.
In old ones he can freshen up only.
Lastly. The sandpaper file and the needles are
excellent tools in the hands of the man who knows
when to use them and how to use them; and also
who knows when not to use them. In the hands
of the enthusiastic amateur or unskilled worker
they are comparable only with the deadliest
Tuners and Repairmen
Can make good money installing Jenkin-
ion'i Player-Action into used Pianos. Write
for catalogue.
JENK1NSON PLAYER CO.
912 Elm Street, Cincinnati, Ohio.
Polk's Piano Trade School
Piano,
14th YEAR
Player-Piano and Organ Tuning,
Repairing and Regulating
Most thoroughly equipped Piano Trade School in
U. S. Private instruction. Factory experience if de-
sired. Students assisted. Diplomas awarded. School
entire year. Endorsed by leading piano manufacturers
and dealers. Free catalogue.
C. C. POLK
Box 298 Valparaiso, Ind.
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