Interesting technique. To me impact tuning style has always seemed a bit vague. I understand its principles but to me it just seems kinda blind technique, regarding pin position, and when pin is in such position that it will hold the string stable. To my understanding, even impact technique doesn't always change pin's position in pinblock, especially when fine tuning. I'd think that finest pitch changes are still done with twist and bend of the pin. Impact as sharp motion will probably help with string rendering, so string tensions are more predictable across string length, and that means stability. That said, I think main thing about tuning hammer technique is not to avoid, but to understand those forces, how pin flexes, and use them in your advantage to make precise adjustments and stable result.
@@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!
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Interesting technique. To me impact tuning style has always seemed a bit vague. I understand its principles but to me it just seems kinda blind technique, regarding pin position, and when pin is in such position that it will hold the string stable. To my understanding, even impact technique doesn't always change pin's position in pinblock, especially when fine tuning. I'd think that finest pitch changes are still done with twist and bend of the pin. Impact as sharp motion will probably help with string rendering, so string tensions are more predictable across string length, and that means stability. That said, I think main thing about tuning hammer technique is not to avoid, but to understand those forces, how pin flexes, and use them in your advantage to make precise adjustments and stable result.
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.
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 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.
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.
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!