I agree that hammer technique is #1. Most of the performance tunings I do are on instruments that do not see frequent use (or service) so I am most often working from well outside a one or two cent window - often 10 or 20 cents. Sooooo, Pitch corrections first and fast. Fine tune next as well as I possibly can. Then I typically will either play chromatic octaves with both hands *ff, *up and down the scale, with the dampers off the strings, or I've also used a variant of the FAS that Mr. Brady describes in his book. Then one last, quick, critical listening pass. William R. Monroe On Sun, Oct 31, 2010 at 9:02 AM, David Love <davidlovepianos at comcast.net>wrote: > I agree with some previous comments that stability comes from hammer > technique more than from pounding technique. In fact, excess pounding can be > counter productive. I find that reaching the desired pitch from below rather > than pulling it sharp and pounding it down is better. To do that requires a > flexing of the pin down toward the plate from a 12:00 to 1:00 hammer > position to offset the twisting so that the string movement is minimized. A > relaxing of the flex concurrent with the relaxing of the twist leaves the > pitch unmoved (if done correctly) and less differential in the string > segments to move later which is the main source of instability. > > > David Love > www.davidlovepianos.com > > -------------- next part -------------- An HTML attachment was scrubbed... URL: <http://ptg.org/pipermail/pianotech.php/attachments/20101031/ca55d832/attachment.htm>
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