Відео

@@toddscovill6023 Always start with A440. Then tune octaves up and down the piano. Check out my other video showing a real-time quick tuning at the Utah Symphony.

@@mickandrews9458 Yes, high humidity can damage the fibers of the board, then drying out reveals the damage by cracking in the compromised areas.

This will not appreciably affect lost motion, but if it did that would be a good thing because lost motion increases rapidly with most new pianos that have bobbling. The felt above the capstan compresses. However, this video is meant to be a quick-fix, and doesn't address every aspect of the regulation. This will not totally solve the problem on some pianos. Some will also need the distance between hammer and strings to be decreased and the capstans raised accordingly.

@@Hammondbrass I don't have a number to it, but as minimal as possible while still allowing the jack to very comfortably escape and have a small squish at the end of the key stroke.

If I had to guess... 0.035-0.045"?

@ I see Renner Academy and techs like Stephen Brady recommend .060. I use a gauge that gets me closer to .045. I know what too little and too much aftertouch feels like, but I’m not a pianist. What would be the difference between .030 and .060 for a pianist that would feel better/worse? I could see how less might “tighten” up the feel of keyboard, so to speak, for more virtuosic playing. I could see .060 after some compression and wear could widen up to feel sloppy/bobbly after time. Maybe that would be considered for a keyboard that gets a lot of play but not a lot of work (like a university practice room).

​@@HammondbrassOne advantage to minimal aftertouch is a feeling of crisp timing and better repetition. Faster repetition because the jack doesn't have to travel as far to reset

@@saltlakepianoservice ah yes, I will have to squirrel that away in my mind palace and bag of tricks for clients and what they want to achieve on the piano. Thank you, as always!

Good to know this or I would have tuned my piano to even temperament

Can you clarify?

@@Hammondbrass ha ha ha. I like these comments about the Protek. The strings definitely have rust and lubing it helped a little. Thanks for watching!

What type of work you did in that piano ? Did you voice it ? I don’t know what you did on it ..

Thanks for your question! No, I don't always make them beat the same speed, I tune the octave until it sounds right, then I check the 6:3 to see what the difference in beat speed is in the check, then that can help me to make sure I keep that pattern similar as I tune octaves lower down and it's a check in case I get fooled and get way off course. Typically I notice that on larger pianos the minor third of the test beats slower than the major sixth. On small pianos, the minor third may beat the same as the major sixth. But if you tune the octave only based on the 6:3 it won't always sound the best.

@@saltlakepianoservice thanks for the reply, I also found the same thing but I wanted confirmation from an expert technician. I hope to give a video that explains how to tune the octaves, like the ones you made on the intervals of 4 -5 and 3. Very well done

@@naokookadahill5639 I have ground the two-prong tool in the past which was sold by Pianotek so it will fit Bostons. Currently I just use needle nose pliers to turn those.

Tuning to the fork by just matching the pitch as you listen to the fork will get you close, but it's hard to get it right on. We are shooting for a pitch that is within one cent of the fork margin of error, to get that close, I have to use a beat check to make sure I'm right on. So yes, faster and easier, but not as accurate as comparing the beats.

@@FlyWithNoam No, this is a fine tuning before a Symphony rehearsal. Granted, this piano is tuned so much that things fall into place more easily and quickly. You practice tuning so that there aren't many errors as you go up. I only used Verituner here to get my A4 pitch, then tuned everything else by ear. Verituner is actually a very good software that does a great job, but I like tuning by ear for the reasons you mentioned, to get sonority by matching as many partials as possible as closely as possible. Octaves give us so many coincident or doubled partials (overtones) that this way of tuning works very well... Indeed this is how you tune by ear with efficiency. If there are things that don't sound good in the end, you can quickly fix them and check all the way up and all the way down by octaves to eliminate errors that were compounded. But in truth, the errors aren't really compounded, just duplicated. It's a lot more simple than a lot of people out there make it sound. The sound of the piano tells you very quickly if it's good or not. If you watch and listen closely to this video, you will see that I constantly check the sound of the tuning in a musical context to expose anything that doesn't sound the way I want it to. Thanks for your comments!

@@saltlakepianoservice thank you for the thorough reply :) I love your passion! I for sure know what you mean about things falling into place. I have a 1993 C&A D and a 2013 Hamburg D and they are so stable because of you tune every day for 1 month, after that they just stay!!!! I personally tune e3-e4 because the beat speeds are a bit slower and easier for me. Then I copy from temperament as much as I can. What do I mean? When it’s time to tune g5, I just put it where it’s slightly narrow with c4 and slightly wide with g3. You know what I’m talking about :) because the g3 c4 4th is slightly wide :) so we can’t 100% match both!

Condition of the tails, length, arc, back check angle and closeness. Spring strength and pinning of hammer flange. What kind of piano? Sometimes brushing 80 grit sandpaper or a sanding paddle across the tail where it contacts the back check can help.

You may just need new back checks, some don't work very well.

@@saltlakepianoservice Many thanks for the input. It is a Steinway M 1936 with new hammer shanks (pinning looks good) and new hammers but with the old Steinway tail style to go with the original backchecks. Something telling is that checking works pretty well for lower and upper octaves, being an issue only with the middle 3-4 octaves that get the most play. I suspected this was an indication that the backcheck leather was too warn and tested replacing the leather on samples, but it doesn't seem to make much difference. So I'm looking for other options. I'll try taking down the spring tension more (the new hammers are lighter so the strings are I expect too strong). I've watched you adjust springs in several of your videos but it is hard to gauge what is quite right. I'll also try sanding the tails as you kindly suggested. Do the old style Steinway backchecks require a different angle than 5deg or is it pretty much the same as the new style? Should the hammers check even with light (PP?) playing?

@@andrew81818 The hammers won't always go into check with the softest playing, but the important thing is that they don't bounce and hit the string again. Because of what you're experiencing, I always have the best luck with new back checks and try to always replace on the old Steinways and use the new tail length and arc radius. I don't hold to a certain angle, try going more vertical with the back check and see if that helps.

Yeah, the 4th and 5th in between an octave can be useful. I would say the fifth needs to be considerably more pure than the fourth and I like the octave to not sound compromised at all. I definitely check the 4th and 5th often. That said, I gravitating towards using fewer checks and tuning the octave to sound really clean like a unison. I find when I do this the 4th and 5th are fine if my temperament was good. Fewer checks make for a moreover efficient tuning and I believe the octave tells us most of what we need to know.

How expensive are they? With me it's more a question of time to set levels and test. My UA-cam ventures aren't yet profitable enough to support investing too much into mics.

@@saltlakepianoservice lol yeah I hear that. Looks like $250 for one but you can combine up to 4 of these wireless mics and there is a discount for buying multiple. It seems like they are pretty much plug-n-play for levels and the stuff you’re doing, but I’m seeing that they won’t get an android app until 2025.

@@saltlakepianoservice the difficult thing I found with wireless mics when I was trying to find a cheap one to connect with pianoscope is that most of them have a chip or are programmed for the voice. So sounds like a piano are considered background noise and they automatically adjust them down.

I'd love to see a demo of that setup. Feel free to email me a clip if you ever have the time