hard pounding

[Kenneth W. Burton]

	Bill,

	Thank you for your comments.
	What seems to be my difficulty is that, if I turn the pin enough
to feel it move, the bottom of the pin (I call it the Pin Foot) has turned
too far. Then I have to wrestle it counter-clockwise and fuss around until
the foot seems to be in the right place. This takes more time than I feel
it should.

	Ken Burton "Doctor Piano" Calgary Alberta

On Sun, 12 Apr 1998, Bill Ballard wrote:

> 
> "Kenneth W. Burton" <kwburton@calcna.ab.ca> wrote, 4/12:
> >	Jim and all,
> >	I have been studying and experimenting with different hammer
> >techniques for quite a few years (as perhaps we all have) and I feel that
> >the biggest problem in tuning technique is getting the pin to turn in the
> >block without turning too far.
> >	I realize that every piano is different but does anyone have a new
> >effective way of overcoming this "static friction" in order to move the
> >pins in smaller steps?
> 
> The basic mechanical principles are constant. As pinblock grip (tuning pin
> friction) increases, the more the top end of the pin will have to turn
> before the bottom end (in thepinblock) finally gets to move. It's a matter
> of the pin torsion overcoming pinblock grip.
> 
> The challenge as I see it  is not in how to twist the top end enough so
> that the bottom end will move. Rather it is to guess what turn at the top
> will turn the bottom an amount equal to what the top end *should* have
> turned in order to make the required wire change in the speaking length.
> The variables are string and tuning pin friction, the desireed amount of
> tension change in the speaking lkength, and  (last but not least) our
> competence.
> 
> Bill Ballard, RPT
> New Hampshire Chapter, PTG
> 
> "Talking about music is like dancing about architecture"
>          Steve Martin
> 
> 
>