I started using this pin setting technique about 20 years ago, and with it ended my need for pounding. The description below is really quite good exactation to what I do. While in recent years I have found a need to improve on my tuning skills, I have never had any trouble with tuning stability. In fact its always been my strongest asset as a tuner. Took me a while to get the hang of it back then, and I use a firm thumb blow as I tune each note to be sure, but no pounding is neccessary. Just a little upward plus on the pin after it is set where you want it. Jon Page wrote: > > As I said before I think the class was given by George Defabaugh > in which he demonstrated that the tuning is more stable if the > pin to counter-bearing string segment is left with a higher tension > by coming up rather than lowering tension to desired tension. > > The friction on the c/b & v-bar will not allow the tension to slip as easily > with a higher tension in this area. A lower tension on this side of the > speaking length is not as stable. One aspect of the friction's effect is to > slightly > lower the tension first before pulling up so as to reduce the occurrence of > breaking > a string by the added tension on this side of the bearing points before the > string moves over the bars, agraffes and c/b felt. > > This is not to say, do not over-shoot but don't come down to the pitch and > leave it there. There is a series of turning of the pin to raise and lower the > tension. Each time the change is less and less until you are just dealing with > the torque in the pin. I always end this series of pin setting with a nudge to > bring the tension up. > You know, the small, finesse, hammer wobbling to set the pin. With the last > motion on up tension the string becomes set better as well. > > With some pianos there is no finesse, Aeolian Chickerings for one, with the > steep angle causing friction overload. These I would just pull up and leave them > > because if you try to lower the tension, by the time the tension drops enough > for the friction to slip, the tension is well below pitch. I agree. A smooth and slow as possible up to pitch motion and leave it there, sometimes I experience that the pitch will rise a bit if it moves at all afterwards. > > > That's how I've been doing it ever since that class way back then and it has > not failed Your results may vary, > > HH, MC, > > Jon Page > piano technician; Harwich Port, Cape Cod, Mass. > mailto:jonpage@mediaone.net > ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Richard Brekne I.C.P.T.G. N.P.T.F. Bergen, Norway
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