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Volume 55, Issue 03 - Piano Technicians Guild
Volume 55, Issue 03 - Piano Technicians Guild
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Vol. 55 No. 3
Barbara Cassaday
March 2012
Comments
Publisher/Executive Director
Ed Sutton, RPT
Editor 2 Editorial
John Granholm, RPT
Associate Editor
Perspective
John Parham, RPT Piano Tone and Science –
Assistant Editor Together at Last
Jason Wheeler
Art and Design Manager By John Granholm, RPT
Journal Associate Editor
Shawn Bruce
Marketing Manager
34 Auxiliary Exchange
35 Foundation Focus
36 Classified Advertisements
39 Display Advertising Index
Cover Art
Cover by Jason Wheeler.
Next month’s Executive Outlook will be from Phil Bondi, RPT, PTG Southeastern Regional
Vice President.
rob@pacificpiano.com
iRCT
www.reyburn.com
Too Simple Stop Gauge This plastic friction catch on a Kimball fallboard holds it in
the upright position (Photo 2). After years in service, it’s not
unusual for the part to break. I found this same piece at a
local mobile home supply outlet for less than the price of a
cup of coffee. You can also find them at www.slide-co.com
for under $10 by searching for part number 22496.
Jim Ialeggio
Boston MA Chapter
PIANO
& Digital
Acoustic
BUYER ®
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12PTG-PBadF11.indd 1
Piano Technicians Journal / March 2012 7/5/11 1:53 PM
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rectly perceived as multiple flashes.18 music in an environment that is large- 7. Musical Instruments: Methods of Research and Calculation
(in Russian) by A.V. Rimski-Korsakov & N. Diakonov,
ly imaginative, tend to overestimate
Moscow: Rosgizmestprom Press, 1952.
Conclusions their power over the details of the
8. “Musical acoustics vocabulary” by Leo Beranek.
1. Touch and tone perception is sound produced—but pianists, prob- Sound, Vol. 1 no. 4, 1962.
multimodal: The auditory, kinesthet- ably, more than others. “The pianist
9. “Development of the Methods for Evaluation
ic, and visual sensory systems interact, produces the greatest fortissimo with of a Pitch Strength in Musical (Piano) Sounds (in
intertwine, and mix together. Pianists an exertion that makes him or her Russian)” by A. Galembo, doctoral dissertation, Sankt
inevitably include kinesthetic feed- feel as if merged with the instrument, Petersburg Institute of Cinema and Television, Feb.
1995.
back when they evaluate timbre, thus participating directly in the creation
making not the tone itself, but rather of the volume of sound like a string 10.“Hearing lips and seeing voices” by H. McGurk & J.W.
MacDonald. Nature, 264, pp. 746-748, 1976.
the judgment of the tone touch-de- or wind player. The size of the piano,
pendent. however, so much greater than violin 11.“Interaction between auditory and visual processing
in impressional evaluation of a piano performance”
2. The strong interaction be- or flute, induces the belief that one is by H. Shimosako & K. Oghushi, Journal of Acoustical
tween auditory and kinesthetic im- dominating the sound from within, Society of America, Vol. 100, no. 4, pt. 2, p. 2779, 1996.
pressions explains also why pianists like a singer, as if mastering it were to 12.“What does the visual information contained in music
are not able to separate reliably the become part of it.”19 performances offer the observer? Some preliminary
mechanical and auditory informa- Here is a proper place to quote thoughts” by J. W. Davidson, In R. Steinberg (Ed.) The
Music Machine: Psychophysiology and Psychopathology of the
tion in their responses. one extreme declaration regarding Sense of Music. Springer Verlag, pp. 105-113, 1995.
3. A performer has an educat- touch dependence of a piano tone:
13.On Music and Musicians, by Robert Schumann.
ed preference or an icon of what is “The pianist herself is an integral University of California Press, 1983.
a good instrument (i.e. what is the part of the sound-producing instru- 14.“Playing the piano,” letter to editor, by K. Wolf, NY
best dynamic correspondence be- ment. The pianist is in physical con- Review of Books, Dec. 16, 1999, p. 100.
tween the touch and the tone), and tact with the piano and is caused to 15.“On playing the piano” by Charles Rosen. NY Review
the quality of any instrument might reverberate with the other (more tra- of Books, Oct. 21, 1999, p. 52.
be evaluated by the degree of the ditional) parts of the instrument.”20 16.“Three essays on the fundamentals of piano-playing”
intermodal conflict between the au- This sounds like nonsense to by R. Wormleighton (no date, but fresh and popular
ditory and kinesthetic sensory chan- physicists, but it may benefit the music. site!) “Piano-hands: Web Sites” at http://piano-hands.
net/index.htm.
nels.
4. The subjective impression ob- Thanks to Robert Hohf for help with the 17.See ref. 15, p. 54.
tained from an instrument strongly English translation of this article. A.G. n 18.“A visual illusion induced by sound” by L. Shams,
Report to the Second Annual Multisensory Research
depends on the acoustical conditions
Conference, October 6-7, 2000, Tarrytown, New
in a room. References York.
5. Objective parameters of the 1. “Listening tests - turning opinion into fact,” by Floyd 19.See ref. 15, p. 52.
E. Toole. Journal of Audio Engineering Society, Vol. 30 no.
tone and mechanical response of the 6, pp. 431-445, 1982.
20.Matthew Dovey, 22 Dec 1997, in e-mail discussion list
piano—amplitude spectrum, wave- 2. “From Instrument to ear in a room: Direct or Piano-L@uamont.edu.
form and transients—also depend via recording” by Arthur Benade. Journal of Audio
on the acoustical conditions in the Engineering Society, Vol. 33 no. 4, pp. 218-233, 1985.
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DO WHAT
well the value of asking what amounts
to the same question more than once.
YOU LOVE
In the interest of clarity and accuracy,
having someone corroborate his own
tale is, in my opinion, worth the effort.
BASIC AND ADVANCED PIANO TECHNOLOGY
The hobgoblin of piano voicing is the dreaded una corda shift the action all the way to 3 mm. Listen to each unison
(soft pedal) tone. When you think you have the piano perfectly with a mute between the middle and right strings. No left
voiced, the player walks in, presses the left pedal down, and, as strings should sound. In the bichord section, space the
loudly as possible, plays an embarrassingly uneven scale with both hammers to strike both strings when you shift.
hands. And it’s your fault. c. Now draw a pencil line at 2 mm. All the left strings should
At a high-profile training seminar I attended many years ago, sound when the action is shifted to the 2 mm line. None
the instructor taught us to voice the una corda position first, then should sound when you depress the action to the 3 mm
the full three-string position. The rationale seemed to be that it line. Of course, you can vary the numbers to suit your
would be all right to “un-voice” the una corda tone in the process experience, and you can tighten up the tolerance as you
of voicing the three-string position. If it’s not acceptable, then, gain experience to, say, 2 and 2.5 mm. [A few business cards
to compromise tone in the three-string position, why would it between the left end of the action and the action stop block will
be all right to compromise the tone in the una corda position? help you to shift easily between the two positions. Ed.]
How about working on a method that gives us good tone in d. Space, travel and burn to accomplish this standard.
both positions? Here is an approach to address these quirky issues. e. You will start to notice the uneven agraffe spacing and
First, the question: What makes the tone uneven when string spacing under the V-bar. You can choose how to
you depress the una corda pedal? Here are three reasons: manage that problem, either by re-spacing the strings if
(1) You could be shifting from three strings to one, rather you can, misaligning the hammers at rest, or by traveling
than to two. If your strings are not level and you’ve fit- and burning the shanks so that the hammer moves at
ted your hammers to those un-leveled strings (or you a slight angle to contact the string. I prefer spacing the
haven’t fitted hammers to strings in the first place), the strings, if possible, and when it isn’t possible, traveling and
string contact becomes uneven when you shift the action. burning hammer shanks to move at a slight angle and
(2) When you shift, you may still be striking three strings, as a result maintain an evenly spaced hammer alignment at rest. I
of imprecise spacing. Likewise, if you feather the pedal, and you like to mark the shanks I have intentionally mis-traveled
don’t have virtually perfect hammer spacing, somewhere in the for future reference.
middle positions some hammers strike two strings, others three. You may now find that voicing errors in the shifted position
(3) A hard edge on the side of a hammer can strike the string will serve to alert you to more subtle variations in the full three-
when you shift, causing brittle tone. string position. A little needling in either position improves the
So, let’s solve those three problems. other. Just be sure, every time you needle, to check for precise
1.Do a fine job leveling the str ings, all the unisons. hammer fit. You should find smooth, even tone in either pedal
2. Do a fine job fitting the hammers to the strings, all of position with level strings, hammers that fit, precise spacing and
them. These two operations will virtually guarantee no hard edges.
that when the action is shifted, the hammers will Leveling strings with a bubble gauge has not caught on with
still fit the strings. Nothing else you do can make manufacturers. This is an aftermarket product improvement and
that happen. it should not be considered a warranty defect if you see new
3. When you needle the hammers, needle all the way pianos with strings that are not level.
to edge of the felt. If you are needling lacquered hammers, I am aware that there are other solutions. One is to space
overdo it on the edges.Don’t round off the corners—needle them. the hammers so you don’t shift off the third string, but, rather,
4. Do a precise job of hammer spacing. Do it by ear. This, I think, continue to strike three strings even with the shifter pedal de-
is an uncommon idea, but it makes a world of difference. Try pressed. I suspect, however, that abandoning the una corda principle
the following procedure. is the result of uneven tone with the shifted position. Even so,
a. First, do a traditional spacing job by eye. Make it look the principle of leveling strings and fitting hammers still applies.
good, spacing, traveling and burning the shanks as I have also become aware that there could be damper oinks and
needed. meows related to shifting.
b. Then set the shifter stop so that the action shifts 3 This article is by no means exhaustive. Doing the work de-
millimeters. (Some other number, like 2.5 mm may be scribed here has made a big difference in the pianos I see and the
appropriate, especially in small pianos.) Draw pencil quality of my daily grind. I’d like to hear about your experiences;
lines on the keyframe and keybed to indicate the this subject is worthy of further discussion. n
movement of the action. Now depress the pedal to
March 2012 / Piano Technicians Journal 27
Small Shop - Big Results
Grand Action Reconstruction: Part 4 - Installation of Risers
By Chuck Behm
Central Iowa Chapter Comments on Chuck Behm’s
Weber Restoration
By the end of the last By Anne Beetem Acker
installment, everything Savannah-Charleston SC Chapter
was set to install a set of
risers on the keysticks The complications of changing
of the Weber grand in wippens certainly came home to roost.
order to compensate for I applaud Chuck’s persistence and
the difference in height creativity.
between the old rocker/ From the point of view of con-
servation-oriented restoration, I have
sticker assembly and the
already expressed my concern for re-
new Wessel, Nickel & placing the wippens.
Gross capstan/wippen A significant concern when re-
heel arrangement. An placing action parts relates to relative
adequate supply of yel- weights of parts.We all know how awk-
low pine stock had been ward an action can become if hammers
Photo 1: Space provided for the saw blade.
milled down to the cor- that are too heavy are put on. Similarly,
rect thickness and sawn we must be aware of the total mass the
into strips for gluing onto finger must move when playing.
the keysticks. Holding the two wippens in my
To prepare for gang- hands, I was suspicious that the WNG
gluing the risers to the wippen was heavier than the original.
My gram scale revealed that the original
tops of the keysticks, I
wippen weighs 18 grams and the WNG
placed felt punchings part weighs 20 grams, a significant dif-
between the keysticks ference. Add to that the weight of the
(Photo 1), so that they risers Chuck found necessary to add
could be cut apart once behind the key’s balance point. On the
the glue had dried with- other hand, he removed the rockers
out scarring the edges. and their screws. I would be curious
The appearance of to know how these weights compare.
these original keys as Conservation-oriented restoration
seen in the photograph tries to preserve all original parts as
brings up a topic I think Photo 2:Application of glue to riser stock. well as the original relative orienta-
is important to consider, tion and geometry. The removal of
original material from the repetition
that of where to draw the
rail is a permanent loss of originality
line when working on that conflicts with these goals. As such,
an elderly piano such as it would be avoided as much as pos-
this one. Obviously, the sible. The alternate approach would
keys are showing their be to modify the replacement parts in
age, all 125 years. The preference to modifying the original
unplugged screw holes components. While Chuck is trying to
left behind from the match up to the original configuration
removal of the rockers as best as possible, which I applaud,
don’t help. I’m sure some there is an unavoidable accumulation
technicians would take of small errors that will further com-
one look at this photo pound the difficulty of ever knowing
how much the final result diverges from
and say that it would be
the original.The more you change, the
best to make an entirely more errors can accumulate. Somebody
new keyset. Photo 3: Riser stock positioned from side to side on a section of keys.
PTGMusicCity.org
THURSDAY, APRIL 19 - SUNDAY, APRIL 22, 2012
30 Piano Technicians Journal / March 2012
Road to Cavalese
By David Love, RPT
San Francisco CA Chapter
New
Members
January 2012
Region 1 Region 3 John Lee NEW RPTs
021 Boston MA 767 Heart of Texas 1641 Black Oaks Pl
Liao Liu Glenn Doyle Plymouth MN 55447 Region 1
82 Beltran Street 100 Highland Street 195 Reading
Malden MA 02148 Hillsboro TX 76645 Donna O’Brien Lancaster PA
1814 16th Court West Julia Gottschall, RPT
David Moulton Region 4 Williston ND 58801 1062 N 6th St
10 Maple Drive 601 Chicago IL Reading PA 19601
Auburn MA 01501 Steven Smith Region 7
777 Whispering Oaks 981 Seattle WA
Scott Ness Palatine IL 60074 Nathan Jensen
66 Oakland St 1244 NE 188th St In Memory …
Brighton MA 02135 Region 5 Shoreline WA 98155
553 Twin Cities MN John Lansing, RPT
Ezekiel Wheeler Kevin Esboldt Manasquan NJ
International
131 Fawcett St 813 2nd Street West Wei Yan Wo
Cambridge MA 02138 Earl Stuckenbruck, RPT
Hastings MN 55033 2/f 108 Tung Kok Wai Johnson City TN
Fanling NT 00000
Mark Whitlock Hong Kong
5 Fairview Terr
Malden MA 02148
Region 2
294 Savannah
Charleston
John Krucke
www.pianotechschool.com
4522 State Rd 312/666-7440
Ridgeville SC 29472
long ago was that? Not that long ago, for here is the piano
from the stage.
The variety of the shapes and sizes of the pianos sur-
prised me. A very tall, imposing one resembled a harp, as
if it were a grand piano presented vertically. One could
imagine it demanding obeisance from the entire scheme
of décor in a Victorian parlor. There were square pianos
with lavish wooden trim; the Lincoln piano had red vel-
vet in both the piano and the bench. One square piano
was so plain that it looked as if it would be at home in a
hunting lodge or even a business office.There were some
grand pianos like the ones we know and love. Each piano
was immaculate—as if only yesterday it stepped out of the
manufacturer’s showroom.
I was amused at and pleased by the practical use of
grand piano frames serving as shelf supports for cases to
hold the tools of the trade. On first viewing, I assumed the
shelves were a clever way to recycle the frames of grand
pianos. One of the technicians later informed me that the
shelves’ spines were built especially for the presentation.
This brings me to an interesting new perspective:We
were discussing the museum visit at our chapter’s Christ-
mas dinner. Several of the technicians pointed out what
they saw and enjoyed. I have to say they were wide-eyed
in their discussion. What they appreciated were the dis-
plays of the tools of the trade and the way the tools have
developed down through the years.
The tools were a very important aspect of the museum
that I was not able to appreciate; however, the museum
speaks to all of us and is itself the presence of history. n
Last summer during the convention in Kansas City,
the Auxiliary members were treated to a tour of the Piano
Technicians Guild Foundation Museum. It had fascinating
displays of piano memorabilia. I’m sure there are plenty of For a video tour of the PTG Foundation Museum,
people who could give you a better technical, historical, go to www..ptg.org and click on the PTJ Videos icon at the lower
practical view of the displays, but I am going to tell you left corner of the home page.
what I, an Auxiliary member, appreciated, enjoyed, and
understood.
The display that impressed me the most was the one
which had a picture of Abraham Lincoln on a pedestal
beside the piano and a sign informing the observer that
this piano is the one that was on the stage in the Ford
Theater the night that Lincoln was assassinated. I stood VIDEOS
awed in the presence of history. Abraham Lincoln? How
34 Piano Technicians Journal / March 2012
VIDEOS
F Foundation Focus
Foundation Contributions
4th Quarter 2011
Corporate Patron Gerald M. Paluck
Jack R. Wyatt on behalf of Leon A. Carl Eisenstadt on behalf of Glenn W. Suyker
Speir, Laura Olsen, Ruth Phillips, Robert Moore Gregory Boyd
Fred & Marilyn Raudenbush, Jim Ben Gac Gordon H. Johnson
Coleman, Jr., Jim & Susie Geiger, Bruce L. Groll Helen M. Goodale
Ricki Klos, Ward Guthrie, Wally & Christopher P. Kennedy Helga A. Kasimoff on behalf of
Vivian Brooks, Claude Harding and Craig M. Ryder Bill Kasimoff
David & Dianne Durben David Y. Napier Irene Norman
Fred & Marilyn Raudenbush on James E. Todhunter, Jr.
Benefactor behalf of Jack Wyatt James L. Payne
Atsundo Aikawa John M. Russo Juanita Campbell
Ray Chandler on behalf of Keith A. McGavern Joe W. Malecki
Steve Brady Machiko K. Sobrin John E. Gould
Richard J. Murphy Peter G. Acronico John Porterfield
Rachel W. Down Kathleen S. Harrod
Sponsor Raymond W. Negron Katsufumi Seki
Bruce Dornfeld on behalf of Ruth M. Van Dine Keiju Tsuruta
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Charles J. Maddox Steve George Makito Fujimoto
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Daniel Levitan Carl Meyer Mary C. Smith on behalf of
David Lamoreaux Susan Graham
Diane Cousins Supporter Matthew J. Hirschfelder
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Friend
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PTG Central Pennsylvania Chapter on Carole Kupelian Timothy M. Farley
behalf of Willis Snyder Cyrus Shuster Timothy P Van Vliet
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Newton Hunt David B. Stoneman Victor N. Camacho on behalf of PTG
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Vernon N. Douglas, Jr. Elizabeth A. Baker Zheng Chu
Yat-Lam Hong
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