Tuning lever manipulation 2
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- เผยแพร่เมื่อ 4 ม.ค. 2017
- Presented by: pianotuninghowto.com
Tuning lever manipulation Chapter
There are two schools of thought:
By pressure-inertia (the most commonly used method)
And, by small blows-impacts (the method adopted and taugh by piano tuning how to)
First, let's analyze the most common method, by pressure-inertia
The inertia of an object is measured, by its resistance to variation in speed, or its resistance to being set in motion.
Inertia is function of an object’s mass: the greater it is, the heavier force will be required to change its motion.
This pressure-inertia method consists, in holding the tuning hammer in such a fashion, as to create two opposing forces, and thus, artificially increasing its mass. Hence, the inertia of the tuning hammer.
The tuning pin offers a very strong resistance to position changes in its hardwood pin block.
With the pressure-inertia method, applying two opposing forces to the tuning hammer, that is to say:
One force at the top of the tuning hammer, with the fingers
and one force at the bottom of the tuning hammer, with the thumb
You artificially, increase the tuning lever’s mass and its inertia and thus, you will neither twist nor bend the tuning pin in any fashion.
One force with the fingers, at the top of the tuning hammer
One force with the thumb, at the bottom of the tuning hammer
If you merely push the tuning hammer in one direction or the other, you are pushing the tuning pin at the same time, with the consequence that it will bend or be moved from its rest position, in the pin block.
This situation would only be temporary, since the pin will sooner or later, reassume the position it had in its housing and, the frequency of the string you just tuned, will also shift.
This method is currently the most widespread, but more piano tuners are switching to the other method (the one I have been practicing for 35 years), called
IMPACT TUNING
There is even a special tuning hammer called, 'Impact Tuning Lever', which has been designed especially for this technique.
The weight found on the Impact Tuning Lever is adjustable, to accommodate different pin tightness, due to the pin’s friction in the pin block.
For the very tight pins that are difficult to move, you will move the weight of the tuning hammer toward the end, and, inversely, for looser pins, you will move the weight toward the base of the IMPACT tuning lever.
For more, you can get the complete Piano Tuning Video Tutorial at tutorial.pianotuninghowto.com or visit the website pianotuninghowto.com/
My wrist hurts just looking at that technique.
Yes but the results are worth the pain. When you get used to this manipulation type, you don't have any pain.
What about Reyburn cybertuner for grands over a traditional hammer using the impact technique?
I don't know and never used the Reyburn cybertuner. It might be overkill for beginners IMO.
You can't mix metaphors and build a house out of poetry.
are you using a carbon fibre hammer?
No I use a titanium shank with a Cherry wood ball handle. This piano tuning lever was made custom for me by www.faulkpiano.com/tuning_hammers/
what tuning hammer has the gears shown in the video at 8:42 in the video?
Not sure what you mean. If you refer to the tuning hamme at 2:06 minutes, it is the IMPACT TUNING HAMMER ebay.us/ILDnoL
@@PianoTuningHowTo Yes,the Reyburn was the one I saw at some point but couldn't find it cause I didn't know what brand it was but the one in the video at 8:42 I'm not sure what brand it is
@@glenngarrison2717 Ah sorry, I didn't see your 8:42 time. Glad you found it. That's a joke right? The machine part you see there is only for illustration of HighTech. Not a tuning lever.
Most of todays piano's are BADLY tunable. Too tightly mounted tuning pins,jumping pins,often having an over dose of torsion,which makes us lose the grip and feeling of what happens..Pins shouldn't have more than 180KP to move them in their holes. Ibach normally 160/180/seldom 200 KP.
Schimmel goes to over 220 KP.(Bienenwirbel) Well,that's the best way to cause small cracks in the pins after lots of tuning,particularly due to too much jerking the hammer..As a result...broken pins(frequently there,where the string goes through the pin)
Another lightly disturbing thing,particularly for the beginning tuner......the false beats,most of the time occurring in the treble.The culprits here are mainly the aggraves!! You cannot replace the strings sideways here,and that's very important (side pressure on the bridge pins)
To estimate,in order to solve the problem of the false beats....say 50% making the good downbearing vertical pressure(if necessary pounding down the string onto the bridge).If that doesn't suffice,then check the side pressure for the other 50%in order to get rid of the issue..It all has to do with making sure that the string has an optimal contact via the bridge with the sound board.BTW.....inventor of those bloody aggraves was Kriegelstein.A German(or of G. origin) who built technically French looking piano's.
I had some Feuerich piano's,whose aggraves didnot let through the thick base strings.without to let the string breaking off.
Well..this profession of piano work.....suffer from 2 things....a. Lack of the right material and b...lack of good traning for good craftsmen.
These have always been my own experiences,already from my hobby time on until in prof circles
For a concerto....the tuning is mainly not the most essential thing.Highly essential is the regulation. And the voicing...that's a thing,that most of the less experienced should leave their fingers off..at all!
@shandfan Thanks for your interesting comment. You cover a lot of issues piano tuners come across often. I never witnessed a tuning pin break like you did in Europe with the Schimmel. You write: "aggraves" but you mean "agraffes" I don't agree with you. I think agraffes option on any piano is better than just the "regular" pressure bar. I hope you are talking about and old Feurich, not the modern ones made in China and hand made in Vienna! Thanks again for your comment.
@@PianoTuningHowTo Yes..agraffes.Well,you see they are 100% to be found with Bechstein,Bösendorfer,but only PARTLY in Steinway.( meant here is the Capodastro. in the treble area.of the grants)I meant the Feuerichs belonging to the Hofman/Feuerich Group.
Not knowing where you are based...I mean,we in Holland had some Steinway Grants manufactured in the early 1980's,that did not hold the tuning.Not after 5 years either.I had such an instrument for maintenance in a theater.(type D,....number 482520 And just under that Capo in the treble, It was a big nuisance.And the Röslau stringing wasn't of the best either!