The Art & Science, was RE: Setting tuning pins

[Barbara Richmond]

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OK, another voice.  Smooth pull rarely works for me and has never worked =
for me on a S&S.  The only way to stability for me is the jerk method, =
coming down from above pitch and <good> test blows.  One D I take care =
of in a concert setting has plenty of tuning issues--pins bearing on the =
plate, popping pins, all our favorites, yet the tunings hold up =
beautifully using this technique (knock on wood).  Oh, yes, and tuning =
stability went way up when I switched to tuning unisons as I go.  =
Someone suggested a drop of CA for the popping pins.  I haven't tried it =
yet.  Anyone?

Barbara Richmond, RPT
  ----- Original Message -----=20
  From: Alan Barnard=20
  To: Pianotech=20
  Sent: Monday, December 19, 2005 9:55 PM
  Subject: Re: The Art & Science, was RE: Setting tuning pins


  Horace (didn't he send everyone west?) was kind enough to send this =
only to me, thinking to spare my feelings. But, heck, WHAT feelings? <G> =
More to the point, let's get some comment on it; else how shall we learn =
...

  It does seem to be stable for me and I have assumed it is because I =
whack the note good so it settles while I'm there, not after I leave. I =
always run through and clean up/double check unisons as a last step =
anyway, maybe that helps.

  Other voices, please.



  Alan Barnard
  Salem, Missouri

  P.S. Besides, there has been far too little controversy on the list =
lately. It can get kind of stale after awhile ... cows taste good! =
...reverse crown is okay! ...CA doesn't work! ...false beats are caused =
by aliens! ...APSCO people were nicer than Schaff people!  EBT tuning is =
best!        See? Now, THIS is fun, wheeee ...

    ----- Original Message -----=20
    From: Horace Greeley=20
    To: Alan Barnard
    Sent: 12/19/2005 7:24:43 PM=20
    Subject: Re: The Art & Science, was RE: Setting tuning pins



    Hi, Alan,

    I won't post on the list on this, but do feel the need to point out =
that this style of tuning is inherently unstable, leaving the various =
lengths of the string at varying tensions.  It is very reminiscent of =
how I originally learned to tune in the 60's; and, while it certainly =
made me a good deal of money with home/end user work, I had to very =
quickly abandon it when I started doing concert and studio work.  In =
these latter settings, I really don't care what people say =
publicly...the strings really do have to have the tension as equalized =
as possible, or some "artist" or other will bang things right out of =
tune...often in the opening chords of a recital.  The old buzz-phrase =
was to "set the pin" as the original thread title notes...that shorthand =
really cannot be accomplished (on an S&S anyway), without taking the =
string above pitch and then working it back down.

    I know that this is a minority view, n! ow days...I have tuned for =
over 40 years now, spending most of those years tuning more Steinways =
than I presently care to remember.  Ultimately, all the ones that I have =
seen that have been tuned as you describe have been problematic until =
the basic tuning is straightened out.  If it is working for you and for =
your clientele, then I doff my hat...that is quite an achievement!

    Very best regards.

    Horace

    At 05:03 PM 12/19/2005, you wrote:

      To use the slow pull on the S&S--especially if the pin is =
jumpy--it seems to work well to first lower pitch a few cents then =
gently, slowly, steadily (while whacking) raise it to slightly, I say =
again, slightly over pitch. Then just let it settle (while whacking) =
without pushing the pin back, i.e., without using the hammer to "set" =
the pin.
      =20
      If your first pull is not high enough or, especially, if you =
pulled too high and end up sharp, then you need to push down a few cents =
and start over. You get pretty good at hitting it on the mark, after a =
bit.
      =20
      Have fun.
      =20
      Alan Barnard
      Salem, MO


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