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The Baldwin Piano.. .

You can see why it sounds better

The precise setting of downbearing is extremely important to piano tone. Too
much bearing inhibits tone because the soundboard cannot vibrate freely,
while too little bearing does not provide good sound transmission. From our
research we have developed a unique method of setting downbearing with a
degree of accuracy previously considered impossible.
ing hole around the perimeter of the plate is threaded
to accept a hardened steel bolt. This allows the plate
to be set at the optimum height for bearing on the
front side of the bridge (U.S. Pat. No. 3,437,OOO).

ACU-JUSTTMHITCH PIN: Because this pin is installed

vertically instead of at an angle, it is possible to raise
or lower each string individually for ideal bearing on
the back side of the bridge (U.S. Pat No. 3,478,635).

There are important advantages for the technician,

too. If major soundboard or bridge work is ever
needed, it is possible to remove the plate, pinblock,
strings and tuning pins as a unit. Simply lower the ten-
sion, remove plate bolts and dampers, and hoist it out.
Tiny adjustments in bearing can be made without
unstringing the piano or even lowering the tension.
Since such adjustments are not normally necessary in
the field, they should only be made after consulting
Baldwin Technical Service in Cincinnati. When re-
stringing a section or an entire piano, contact Baldwin
for the loan of special bearing-setting equipment.

Second in a series of informative ads on piano tone published by Baldwin

Piano &Organ Company exclusively for the benefit of piano technicians.
The Piano Technicians Journal SeDtember 1988
Executive Board Oficial Publication Of The Volume 31
Piano Technicians Guild, Inc. Number 9
6520 Parker Lane
Indianapolis, IN 46220
(317) 2558213
In This Issue...
Vice Presidenl
619 Barbier Avenue
6 27
‘lltibodaux, LA 70301
(504) 446-6812
Secretary-Treasumr Priorities. Paris becomes a piano-
17 Carmichael Court By Ronald L. Berry. making center.
Kanata, ON Canada K2K 1Kl By Jack Greenfield.
(613) 5926907 (II)
(613) 828-1292 (W)
Immediare Past President
PO Box 10386
oxon Hill, MD 20745
(301) 567-2757
International activities. Summer NAMM report.
Northeast Regional Vice Pmident By Charles P. Huether. By Susan Graham.
295 West Shore Drive
Massapque, NY 11758
(5 16) 799-1656
Soufheast Regional Vice Presidenf
4598 Ginson Drive
Tucker (Atlanta) GA 30084 St. Lou’s Convention 26 Letters
(404) 491-1432
ana’ Technical Institute 37 Coming Events
South Central Regional Vice President
By Susan Graham, with
38 Membership
9707 Timberview
Waco, TX 76710 Don Valley, Vivian 40 Auxiliary Exchange
(817) 722-0546
Brooks, Michael Travis, 42 Advertising index
BRUCE G. DORNFELD, RTI’ Mitch Kiel and Ten’
Central Eurt Regional Vice President 42 Classified Ads
2134 Walters Avenue Powell.
Northbrook, IL 60062
(3 12) 498-0379
Central West Regional Vice President
1307 South Maple
Sioux City, LA 51106
20 UP
Review of Institute The Cover...
(712) 2763176 tuning classes. The summer NAMM show is full of
JAMES G. BRYANT, RTI By Rick Baldassin, with sights (and sounds) as shown in this
Weslern RegioMl Vice President Peter Briant, Sid Stone, multiple exposure.
1012 Ihmbattat Circle William Stegeman and
Sacramento, CA 95825
(916) 454-4748 Michael Kimbell.

SUSAN GRAHAM, RTT @ 1988 The piano Technicians Guild, Inc Articles published in the piano Technicians Journal
Technical Ediror
Tuning Edilor
GEORGE DEBEBAUGH, RI-T and Trademark Office - Unauthorized use is strictly prohibited.
Journal on Tape Reader
MARY KINMAN ‘lie Piano Technicians Journal (ISSN 003 19562) is the official blication of The Piano Techni-
Director of Member Services cians Guild, Inc., 9140 Ward Parkway, Kansas City MO 64114. 5 e Journal is published monthly.
SANDY RSSARY Second class postage paid at Kansas City. MO.. US ISSN 003 19562 foreign and domestic.
Subscriptions/Advertising POSTMASTER: please send address changes to: piano Technicians Journal, 9140 Ward Parkway,
Kansas City, MO 64114.
9140 WardParkway
Annual subscription price: $85 (US) for one year, $155 (US) for two years; $7.50 (US) per single
Kansas City, MO 64114 copy. Piano Technictans Guild members receive the piano Technicians Journal for $45 per year as
(816) 444-3500 part of their membership dues.

i E/September 1988 Piano Technicians Journal




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September 1988 Piano Technlcrans Journal/3

too small
to improve.
No one notices a center pin until during moving, and steel-reinforced
there’sa problem. our grand keyslips to minimize warp-
Most manufacturers make them out ing due to changes in the weather.
of brass. Eventually they tarnish, and We’vealso developed a moisture
can causeverdigris to form. But it absorbent finish for our black keys and a
usually happens after the piano has new satin case finish to bring out more
left the salesfloor. And often after the of the natural wood grain highlights.
warranty has expired. While these recent improvements
At Young Chang,we make our have gone largely unnoticed, our 12
center pins of non-oxidizing German yearfull warranty is getting all kinds
silver. They don’t tarnish. So they of attention. It’s the kind of promise
move freely for the life of the piano. people understand. And the kind of
Chancesare you’ll rarely need to repin promise no other manufacturer is
or ream the bushings of a Young prepared to offer.
Chang action. And chances are our Little by little, we keep refining our
efforts will go completely unnoticed. pianos. Becauseit’s the little things that
You also may not notice we coat make the difference between a good
many of our action parts with instrument and an extraordinary one.
Emralon’” to reduce friction and noise For more technical information,
and eliminate graphite penetration in please call Ed Whitting at (213)
felt and buckskin. 926-3200.Or write to him at Young
Or that we’re using an improved pre- Chang Technical Services, 13336
mium English hammer felt that lasts Alondra Blvd., Cerritos, CA 90701
longer and produces a bigger sound. for a free copy of our Service Guide
Or that there’snow whippen auxilliary and Technical Specifications Manual.
springs on our 7’ and 9’ grands for
finer touch adjustments.
Or that we’ve strengthened our
grand keystop rails to prevent damage The besttheworld hasto offer.
As your new president I want give tests if possible. When a
to share some of the things I see technician must travel a great
as a major focus for the coming distance for a test he usually feels
year. I see two main problems to better if he can get a seminar out
attack. The first is the adminis- of the same trip.
tration of tests and the second is The administration of the tech-
the need to upgrade the meaning nical test is in a bit more disarray
of RTT to make more difference right now because of the recent
between RTT and Associate acceptance of the new technical
memberships. tests. Many chapters have simply
Let’s start with the tests. Since put off giving tests because they
1980 we have been upgrading our have not studied either of the new
tests to make them more stan- tests. Getting chapters up and
dardized. The tuning test was running on technical tests is a
President’s first, when the new version prime concern and we have a sub-
became official in 1981. Setting up committee of ETS to help with
Message a system to administer this test this. The goal is to get most chap-
was a huge job because we ters ready to give the test
Ronald L. Berry, RTT require examiners to be certified, themselves. This committee will
President and we had to test and train all be sure that there are classes
those RTTs to become examiners. available at seminars and con-
Then things slowed to a more nor- ventions on how to give the
Priorities mal rate where we were mainly
testing members to become RTTs,
technical test. They will also
encourage seminars to offer tech-
with a few tests for examiners nical tests when possible.
along the way. Many chapters Both the tuning and technical
chose not to give tuning exams test subcommittees will be
because of the effort involved and responsible for helping people
they relied on other chapters, find where exams are available.
seminars and conventions to get They will also work with chapters
their people tested. But many and AEBs to make them as avail-
chapters met the challenge to get able as possible and to make test
equipment and to get people certi- schedules known. There is also an
fied so they could administer effort underway to simplify paper
their own exams. work and the flow of paper for all
Recently there has been much the exams.
talk of AEBs (Area Examining Aside from continuing efforts to
Boards - AEB is the preferred make one technical test that
term over Regional Test Centers incorporates the best of both, I
because it is the people who com- have asked the committee to quit
prise the AEB, not the test site “improving” the tests. We have
itself. One AEB could administer gone through a period of constant
several test sites.) While this change and it has only added to
arrangement is working well in everyone’s confusion. We need to
California where population den- leave these tests alone for a while
sity is high, it looks like it is not and get the administration of
necessary in other areas at this them in order.
time. The Examinations and Test The other main concern I see is
Standards Committee did a sur- the need to emphasize the differ-
vey of Associate members who ence between Associate and RTT.
were having problems getting The membership changes opened
tested and was able to solve every up the Associate category and
case where there was a reason- confirmed their right to advertise
able problem by working with the membership. This has led to some
chapters that are giving tests backlash from RTTs who are con-
now. While the idea of AEBs is cerned,about Associate members
good and may be helpful in some advertising; there has even been
areas, we will not need to rush talk of changing the membership
into them and can develop them structure again to further restrict
more slowly and carefully. We non-R’M’s. It seems to me that
also encourage all seminars to Continued on page 8

6Eeptember 1988 Piano Technicians Journal

Advertisement Advertisement Advemsement

Yamaha Piano Service September, 1988

For Your Information chasing old uprights and recondition- Yamaha in the News
ing them. Learning refinishing and
Just in case we forgot to mention this MIKE GARSON SOLO ALBUM
rebuilding from a master craftsman,
little item of information, our toll-free We’re sure Mike Garson needs no in-
he operated a piano restoration business
telephone numbers for Piano Service troduction, as he’s been mentioned in a
as a private technician until joining
and Piano Parts are now operational number of previous “Tech Gazette” is-
Yamaha in early 1985. Greg resides in
in all fifty states of the USA. sues. For those of you who were unable
Long Beach, California and enjoys
For Piano Service: (800) 854-1569 to attend the PTG Convention in
collecting antiques.
For Piano Parts: (800) 521-9477 St. Louis (or missed the Convention
Our offices are open from 8:30AM Awards Banquet on Wednesday eve-
to 5:OOPM Pacific Time. ning), you’ll have to ask someone who
MIDI Comer was in attendance for all the details be-
Personnel Profiles Continuing our “MIDI Dictionary”: cause we don’t have enough room in the
“Tech Gazette” to elaborate.
GREG FRANK AFTERTOUCH What we do want to mention is that
Two types of MIDI messages that tell how Mike Garson is currently in the process
strongly the keyboard is being pressed. of completing the first ever album by
This is not the “force” or “speed” with any artist using the Yamaha MIDI
which you play a note (Initial Touch or Grand Piano as a “solo” instrument.
Velocity), but rather how hard you press This premiere recording (as yet un-
on the key after you have played the titled) is scheduled for release on the
note-thus “Aftertouch.” Polyphonic CBS Masterworks label in early 1989.
Aftertouch indicates which key is be- Mike Garson’s new solo album (his
ing pressed and how strongly. Channel third) is being produced by Stanley
Aftertouch indicates the strongest pres- Clarke and will include a version of
sure on any part of the keyboard. What a Michael Jackson’s “Man in the Mirror.”
device will do with Aftertouch messages This is Mike Garson’s first solo record-
will depend on its function memory set- ing on CBS Masterworks, a label which
tings. NOTE: “‘Aftertouch” as a MIDI is generally regarded as one of the most
message is not to be confused with prestigious labels in the recording in-
“Aftertouch” as an acoustic piano regula- dustry. Congratulations, Mike!
tion term.
Calendar of
In past issues of “Tech Gazette,” A device (wheel, pedal, switch, etc.) for Coming Events:
we introduced you to our Technical translating mechanical movement into 1988:
Manager, the members of our Parts De- MIDI messages. When a controller is Sept. 30-Oct. 2: Florida State
partment, and our Customer Service moved, it sends a message telling its cur- Jacksonville, FL
Representatives. In the coming months, rent position. Controllers such as pitch October 7-9: Ohio State Seminar
we’ll be talking about the people in and modulation wheels, foot controllers, Columbus, OH
Technical Service- the remaining and sliders are known as Continuous October 14-16: Texas State Seminar
members of our Piano Service team. Controllers, because they send a wide San Antonio, TX
Greg Frank, Technical Service Rep- range of data values. On/Offcontrollers October 20-23: NewYorkStateSeminar
resentative, is undoubtedly one of the such as foot switches usually send only Syracuse, NY
industry’s leading specialists in finish two values of data-On or Off. October 28-30: Central IL Seminar
and cabinet repair. If you have a “how Normal, IL
to” question about a cosmetic repair, TONE GENERATOR 1989:
we’re confident that Greg has the A device that receives MIDI Note On/ January 20-22: Winter NAMM
answer. Off messages and produces sound. More Anaheim, CA
Greg, a native of the Midwest, began specifically referring to a “synthesizer February 17-19: California State
his career as a piano technician by pur- without a keyboard.” Fresno, CA

Copyright 1988YamahaMusic Corporation, USA* Piano Division*P.O. Box 66000BuenaPark, California90622
I would like to thank Fred Oden- substantial representation from
heimer, longtime chairman of the Pacific rim, including Samick,
this committee and author of this Sojin and Young Chang from
regular Journal column. As some Korea and Kawai and Yamaha
of you may know, Fred has from Japan.
“retired” as chairman, and I have Also in St. Louis, we had a visit
The the job of trying to fill his shoes. from Seiichi Utsunomiya, secre-
Fred does not have large feet, but tary of the International
Internationd he;;;;p;;;;;J;~;nship Association of Builders and Tech-
nicians (IAPBT). He came to
Scene He has an extraordinary list of *
accomplishments and extended
present the plans for the next
IAPBT meeting which will be
service in the area of interna- hosted by the Japanese and held
Charles P. Huether, R’M’ tional relations. No one will be in Kyoto next June lo-13,1989.
Chairman, International able to replace him. That said, Plans call for two days in Kyoto
Relations Committe here we go. and two days in Hammamatsu.
First, dealing with timely mat- Our committee will be develop-
ters, those of you who did not get ing an extended tour of China
International to St. Louis for our annual con-
vention missed an extraordinary
and Korea while on our way to
the Kyoto meeting. Anyone inter-
Activities display of pianos, covering a wide
and substantial sampling of our
ested when details become
available, please contact me or
international manufacturers. In the Home Office and get your
alphabetical order, Baldwin, Fal- name on the list. Should you
cone, Steinway, Walter and want to go to the IAPBT meeting
Wurlitzer, we had a substantial without being a part of the PTG
sampling of European instru- tour, let me know also, and the
ments, including Bosendorfer, details of the Kyoto meeting will
Fazer, Ibach, and Seiler, plus a be made available to you. n

President’s Message.. . ture will encourage to people to directory of local R’M’s. The Con-
there are many positive ways to look for an R’IT not just “a mem- tinuing Education Committee
make the difference greater. First ber of the Piano Technicians will be working on establishing a
and most important is for RTTs to Guild” because only R’ITs have point system of CEUs (Conti-
advertise as R’ITs. I realize that been tested. The new PTG film nuing Education Units) which
many established R’M’s do little explains that R’ITs go through could be required to maintain
advertising and that Associate testing and tells people to look for R’IT status. This would help
members, particularly those who the logo and for members who are ensure that R’ITs are well
are new in the business, do a R!I”l!s. qualified.
much larger amount of advertis- I’m hoping to have the Home These two issues I see as main
ing. But whenever R’ITs Office put together a literature concerns. If you have other prob-
advertise they should mention rack that will go in piano and lems or concerns, please write me
being an RlT. music stores which will have var- at 6520 Parker Lane, Indi-
Future promotions and litera- ious PTG pamphlets and a anapolis, IN 46220-2259. n

Weptember 1988 Piano Technicians Journal

Announcing the Evolution of a New World Standard!
Reflecting Three Decades of World ClassQuality and German ScaleDesign Superiority.. .
Perfected by Samick Engineering.. .AND CRAFTED THE SAMICK WAY!

Samick builds only one quality piano; the finest.

Every !hmick piano incorporates the Samkkpianosarealsobuiltto
same car- selected materials and is last a long time.. .covered by our
built to the sameexacting standards.As Limited Lifetime Warranty Our
a result, from console to professional hardwood cabinets and finely crafted
vertical to grands, each Samickpiano qudityfinisbeswillendureineventbe
represents the finest instrument of its harshest environments. Samickpianos
type. Never satiskd with the achieve- are found in the finest churches of all
ments of the past, Samickcontinues to denominations, piano teaching studios,
develop new musical instruments such colleges and professional studios and is
as the exciting SamickDigital Grand the OftIdal Plan0 of the American 1. SG-14OAPolished Ebony 6. SE-876GPolished Ivory
Piano and a full line of acoustic pianos. BalletTheater. 2. SG-155Polished Ivory 7. SU-421Satin Walnut
3. SG-185satin walnut 8. NJ-108 PiAished White
For the name of the Samick Dealer nearest you, contact us at 4. SU-II&M Satin Mahogany 9. SU-1081Satin Walnut
Samick Music Corporation, 14235 Lomitas, Ia Puente, Calif. 91746. 5. SG-225 Satin Ebony 10. SU-118sPolished Ebony
Toll free l-800-592-9393 or in California (818) 968.5550.
fhUbiICK- Setting the New World Standard.

September 1988 Piano Technicians Journal/9


St. Louis Convention & Technical Institute:

Excellence In Many Forms
Susan Graham
Technical Editor

A t a convention, information is
exchanged in two ways. One is for-
providing this venue, supporting
the Guild (and giving us all an
repair kits at Schaff. The smaller
houses featured specialty items:
mal: the Institute classes and opportunity to rid ourselves of Pacific, for instance, carries the
tutoring. The other is informal: troublesome extra cash). Peterson keypin cleaner, Mehaffey
from breakfast in the coffee shop to Tool supply houses are repre- tools, a padded stretcher protector,
late nights at our social gather- sented in full strength. A novice and an alcohol-based, grease-free
ings, we talk, talk, talk pianos. I technician can do worse than to polyester polish. Superior Imports
hope this report will capture the hang around these displays, is the company we have to thank
spirit of both sorts of activity. For watching and questioning as the for initiating the availability of
Institute coverage I’ve enlisted the more experienced technicians high-quality Japanese-made
help of four talented writers: Viv- crowd in like eager chickens - action parts: they had these and
ian Brooks, Michael Travis, Teri “what’s this for? do you have one? their instructional videos on dis-
Powell and Mitch Kiel. This does it work?” Catalogs are won- play. Raye McCall was showing
approach to class reviews adds derful but it is even more useful to assorted glues, epoxies and lubri-
diversity to the report, and it gives pick up the tool, examine the part, cants, and is now also a supplier
me a chance to introduce their compare notes and question the for the Foredom tools. The
work to the Journal readership supplier. The big houses - Schaff Pianotek display included ham-
(hoping to pressure them into fur- and American - displayed an mers and humidity gauges; Brooks
ther contributions). I should enormous assortment of goodies, Ltd. carries their own Nu-Tone
probably warn you about Mitch including a wide representation of hammers (now available with
Kiel’s sense of humor, but perhaps imported parts from American, mahogany moldings), Isaacs ham-
I’ll just let you discover it for your- and Yamaha tools and polyester mers, action parts, and a hammer
self. I might also mention that boring jig; Ari Isaac makes ham-
Rick Baldassin and I held a meet- mers and bass strings. The
ing with interested parties to Inventronics booth not only fea-
brainstorm about the Journal (this tured their electronic products but
will be a regular feature at conven- gave those with questions a chance
tions); in a later issue I’ll outline to talk to the inventor himself, Dr.
some of the suggestions made and The Piano Al Sanderson.
the changes which are planned as Technicians
Sunnlights, Inc., of Norwell, MA,
Guild’s 31st
a result. For now, my thanks to the showed a very nice line of clamp-on
four “volunteers” and to everyone Convention & and freestanding halogen lamps.
who is putting time and energy Technical Institute Having good work light is some-
into improving this Journal of iulv 18-22.1988 thing many of us neglect, even
ours. though it is critical not only for
The exhibit hall is the scene’of efficiency but for “image.” As the
some of the liveliest of the informal owner, technician Paul Rattigan
exchanges. It provides a gathering remarked, would you trust a den-
place in the midst of a stimulating tist who worked on you with a
array of products and supplies. As penlight held in his teeth? For
an integral part of convention that matter, would you trust an
week, the suppliers atid manufac- GATEWAY TO EXCELLENCE electrician who carried his tools in
turers deserve our thanks for a shopping bag? Bruce Genck was
IO/September 1988 Piano Technicians Journal
Presentations Focus On Industry
Participants in the Guild’s 31st The theme of cooperation was
annual convention activities amplified during a “piano sum-
received a broad-ranging look at mit” panel discussion later
the current status of the piano during the week. Panelists were
industry, thanks to several pre- Bruhn; William McCormick,
sentations during the convention immediate past president of AMC
week. and President of Jordan-Kitts
Kicking off the convention, Music; Guild President Marshall
keynote speaker Karl Bruhn, B. Hawkins; Robert Silverman,
immediate past president of the editor and publisher of Piano
Piano Manufacturers Association Quarterly Magazine; and Dolores
International and newly elected Zupan, president of Music
president of the American Musuc Teachers National Association.
Conference, outlined plans for an Frank Wilson, M.D., a California
extensive three-year promotional Neurologist, author of the book
campaign aimed at increasing “Tone Deaf And All Thumbs,”
consumer awareness of the bene- and organizer of a series of medi-
fits of playing the piano. cal conferences on the biological
The campaign, which will be aspects of music-making was
funded by a grant from the moderator.
National Association of Music Duscussion covered efforts by
Merchants, will use advertising organizations and individuals to
and publicity in national con- promote the piano. Besides the
sumer media outlets to focus PMAI program, these included
attention on the importance of efforts to identify new markets
the piano. The grant, which will for piano-playing, such as the
be administered by PMAI, was growing and increasingly signifi-
announced during NAMM’s cant population of older
recent summer trade show in Americans, and evaluating the
Atlanta, GA. ways in which music is currently
Bruhn, senior vice president of taught.
Yamaha Music Corp. USA, noted Also part of the week’s activ-
that technicians have an oppor- ities was a presentation aimed at
tunity to play an important role St. Louis-area teachers conducted
in this program because of their by the Guild Teacher Relations
regular and frequent contact with Committee and the St. Louis
the piano-playing public. Noting Chapter. Presentations by Dean
that the approximately 3,500 Shank, Owen Jorgensen and
members of the Guild reach into Kristin Schmidt, focused on bet-
hundreds of thousands of house- ter ways of communication
holds in the course of a year, between teacher and technician.
Bruhn urged the. Guild to take Editor’s note: look for more
part in the “piano popularization” information on the ‘Piano Popu-
program and to become more 1arization”program and these
active in greater cooperation convention presentations in a
among industry groups. future issue of the Journal.

there with his technician-friendly specialty items such as a hard-

tool and string cases (and canvas ware-free, no-case-damage-
covers for them, to prevent unfor- guaranteed jumpsuit for piano
tunate experiences in airline mover extraordinaire Jim Geiger).
baggage compartments); Robert Anyone who’s put on a Steinway
Conrad/Greg Hulme also showed soundboard decal with the old var-
tool cases (and Accu-tuners). Mov- nish method can appreciate the
ing further into peripherals, we dry-transfer style available from
had Larry Fine selling copies of Decals, Unlimited; a wide assort-
‘The Piano Book” (once again, a ment of other names and styles are
chance to see the product and talk available and listed in a new cata-
with the writer); Jennifer Reiter of log (they also carry a rather
J & M Fabrications had aprons and elegant piano dolly). John Travis
other piano theme items, and was selling copies of his books, and
makes custom piano covers (and piano novelties. Rosco, the stair-
September 1988 Piano Technicians Journal/l1
climbing piano dolly, put in an
annearance. A Cast
Several cabinetrybench sup- Of Thousands
pliers had displays: Fleisher For the second straight year,
ev&ing. On the heels;;f’that was&i! (which makes custom reproduc- convention attendance topped
thejpremiere shbwing qf$he new$ +3 tions and stocks Steinway style 1,000. The St. Louis convention
PT~~film,l’T~~Unsee~~st~‘~~~~ case parts; Paul L. Jansen, who drew 1,013 registrants, still
Magiiificent!’ And that (k!i ‘j&allT$$J carries artist and standard behind last year’s record gath-
inadequate expression. It will be’,&=* benches, stools and piano dollies ering of 1,161in Toronto but a
great assetto any chapt.&r’inmar&d and trucks; Donnell & Fischer big improvement over conven-
Soundboards, of Lafayette, LA, tions in the early ‘~OS,which
(unfortunately, I didn’t get a declined to below the 600
chance to speak with them). mark.
Posey, Inc., soundboard manufac- The 1988 convention total
turers in Hoquaim, WA, was included 680 Guild members
present; as reported after winter and 187 non-member
The next momin&. Suiidav, ‘+?i: 1 NAMM, the company is doing very technicians.
well, and had an eye-catching dis- Support for the Guild con-
play table which bore a vention by manufacturers and
remarkable resemblance to a suppliers reached new levels
grand keybed. Last but not least this year as well. The conven-
among the suppliers was Dampp- tion attracted a record number
Chaser. This company was pur- of exhibitors (see coverage
chased two years ago by Bob Mair elsewhere in these pages).
and Steve Smith; several changes More than 50 lo- by lo-foot
other issuesr&iv”ed,at~$%tion~~&$“$ have been made, including making booths were sold. Companies
somshot, so~&~pl~“~ ‘$&j ,:*,s ,+& the basic rod unit black, and sim- also contributed extensively by
change in a bylaw. Other, huger’, ‘:r,! plifying installation of the hosting social activities and
projectionswere catapulted, such $$. humidistat by use of velcro (easy bringing in special instru-
on and off and no buzz...). They ments, speakers and
also carry humidity measuring performers.
sions, our new president’and vice-?: i equipment. Speaking of periph-
erals, McAllister Software hear the pianos and to talk with
displayed use of their software Santi Falcone and Robert Anto-
package specifically designed for nian. For those who rarely get a
the&nvention with a great recep:’ ~1 piano technicians (see class review chance to see some of these instru-
in this article). And speaking of ments, this was an excellent
education and information, the opportunity to do so. It was also a
Museum of the American Piano time to establish a little personal
had a booth featuring a square contact with the reps - the voices
grand action (perhaps a better use at the end of the phone - but in
than its original intention as part the interest of everybody’s sanity, I
of a piano). They are gathering and might point out that the conven-
preserving the history of the tion is not the best time to air
faniiliarization opportunities with4 ‘.9 American piano making industry complaints about specific pianos.
and have are accumulated an It is virtually impossible for any-
impressive list of instruments. one to carry complete warranty
Two of the centers of instruction files around in his or her head:
available for piano technicians these meetings are best used for
were represented, with Randy Pot- general discussion and informa-
ter of Bend, OR, showing his video tion-gathering. Send the specific
course, and Bob Perkins represent- complaints to their offices in
ing the residence school he runs in writing....
Elyria, OH. Just in case anyone is hanging
Pi&o Supply; Ed Whittihg As if this weren’t enough, the around bored in the evenings,
Young C&n& Kay Chandler of ~“::~~~.1manufacturers’ technical represen- there are a number of social
Kawai; Alan~Vincentob.~a!dwi~;~,~,J tatives were in attendance, usually events courtesy of the manufac-
(J.&g& W&d&$ bf SC@@;Evan$J)& with a piano or so. Baldwin, Kim- turers. Baldwin hosted a Monday
Tublitz of Rtid; Ibakh S&n; , .z,T” ball/Boesendorfer, Yamaha, night cocktail reception, featuring
Charles Walter of Charles Walter ::’ I Soluner, Samick, Seiler, Walter, jazz pianist Adam Makowitz burn-
Sojin, Kawai, Wurlitzer, Fazer, ing up the SD-lo. On Tuesday,
Ibach and Steinway displayed Young Chang and the St. Louis
instruments in the hall. Falcone chapter hosted a riverboat cruise (I
was present in a separate room, missed it - a good thing, since it
giving an opportunity to see and turned out to be hazardous for edi-
It/September 1988 Piano Technicians Journal
Continued from page 12
your perusal those “things,’ you
work with in making a livelihood
as well as meeting the needs of
your clientele. Better and
improved? More expedient? New?
Another One? Yes. All of these,
and more. New soundboard com-
panies and old. New hammer
makers and old. New parts spe-
cialists and old. Aprons, ties,
decals, stair-climbing dollies, sps-
cialty tools, cases, polyester repair
kits, you name it! Nowhere else do
you have such a chance to feel,
pinch, hear about, fondle, play,
play with, get free tools, critique,
judge, and compare those items
pictured in your catalogs and
Nevertheless, with wisdom one
must also get knowledge. The
richest wealth of just that is per-
sonified and ready to be taken
advantage of in the intensified
schedule of seminar classes. The
class offerings are serious, intense
business. Let me ask you some
questions. Did you learn from
Richard McAllister about increas-
ing your business 30 percent in
only one year and keeping that
direction solid? Did you learn from
Gary Neie how to permanently
eliminate the problem of stripped
screw holes from mounting pedal
lyres? Did you learn invisible joint
repairs in Webb Phillips’ class?
Did you learn in Ray Chandler’s
class on “Piano Diagnostics” what
to do when the piano is in accurate
regulation and exact proportions
and yet does not “feel right?” Did
you learn in the Baldwin class
proper techniques for weighting
Did you learn from Bill Bran-
dom of Yamaha how to approach
the new Disklavier? Did you learn,
as taught by Isaac Sad&n-sky,
how to be more comfortable with
agraffes? Did you learn of Pratt &
Read’s earliest ivory involve- tors -just ask “Lefty” Goldsmith). after-hours scenes). Kawai came
ments? Did you learn from John Wednesday evening before the up with an interesting alternative
Zeiner a professional but very sim- banquet we enjoyed a performance to a big bash - they held a draw-
ple way to accurately make by Panayis Lyras on Steinway’s
sandwiched pedal bumper pads? ing, and three lucky technicians
Did you learn in Jim Harvey’s commemorative 500,OOOth piano; won a trip to Japan.
class how to very simply make a yes, the piano, Wendell Castle case Having now set the informal
retainer for elbow tires when and all. Not only was it a sterling scene, I hand you over to the class
removing and carrying a spinet performance and a wonderful dis- reviewers, hoping that what they
action? play of power-to-spare Steinway have to say will further entice you
Did you have a hearing test? sound, but we were permitted to to join us next year.
Did you learn how Jack Krefting examine to see this unique instru- Send comments, questions, and
works with judging adequate or
inadequate downbearing and what ment at close quarters. Not to be other correspondence to:
to do about it? Did you learn from outdone, Yamaha provided ban- Susan Graham
our technical editor; Susan quet entertainment on four Technical Editor
Graham, how to drill inside the Disklavier verticals, featuring 2967 Madeline
grand piano keybed with your drill recordings made in the Yamaha Oakland, CA 94602
under the piano? Did you learn booth in the display hall. They also
from Mark Anderson how to brought in Mike Garson and the Practical Touch-up And
extract a hammer shank broken Case Repair
MIDI grand for their Thursday
Continued on page 15
night party (the originator of these Angelo Mastagni, entering his
14/September 1988 Piano Technicians Journal
Barberskoppersper$orm on tke riverboat cruise

Hall ofFame Inductee Jack Sprinkle Ellen Sewell introduces the film

Riverboat gamblers St. Louis President Dee Portland Chirmun

Schaefer Taylor MacKinnon

59th year in the piano industry, Angelo removed a dominant scratch

shares his knowledge without reser- from a bench top with items you
vation. He began in a piano could borrow from the homeowner
refinishing shop and has had his where you need to make the repair!
own rebuilding shop, several retail First, he spread vegetable oil (I
stores, and private tuning/repair think it was Wesson) over the
business in Connecticut over these scratch; next he sprinkled a liberal
many years. Here is a glimpse of the amount of scouring powder (Bon
ideas he presented: Ami has the finest grit) over the oil.
Lacquer or varnish finish? In gen- Fine steel wool rubbing this mixture
eral, pianos built before 1929 had (with the grain!) literally removed
varnish finishes; after 1929, lacquer. the scratch. The finish was restored
After 1933, there were virtually no by fine sanding with silicone carbide
manufacturers that used varnish. 240 paper and naphtha, followed by
As a quick test: in an inconspicuous a good grade of furniture polish. He
place use denatured alcohol on a made a remarkable improvement.
cloth and brush over finish - if it is Rubbing compound (extra fine
a varnish finish, the cloth will stick grade from automotive shop for
as the finish becomes “gummy”. hand rubbing only) will restore the
During the class I attended, sheen and clean appearance on plas-
September 1988 Piano Technicians Journal/l5
tic natural keys. with epoxy and screws. Fill slot with esting. If you weren’t able to attend
The use of lacquer sticks was dem- plastic wood, shape, saw and finish this class, buy the tape - I think
onstrated. For most jobs, Angelo as desired. you’d still get most of it. The follow-
finds the transparent sticks the best. To make your own alcohol burn- ing is from my notes; any
He melted the stick onto his “burn- ing-in torch: procure an oil can. cut misstatements or errors are entirely
ing-in” knife and filled in the void. off spout to size desired; minimally my own.
He then wiped down the blemish l/4 inch or larger. Make a wick by The friction areas of grand actions
with naphtha, scraped the surface rolling cotton string (white 100 per- covered in some detail in the class
even (for this job, a razor makes a cent cotton embroidery skeins work were: keybed, keyframe, glides,
fine scraper: rub blade across your well) around a square of cardboard return spring, action guide pins,
wet rubbing stone) and proceeded to six or seven inches wide. The skein una corda lever, dags, keypins, key
polish-finish the surface. He pro- of string thereby created should fill balance holes, key bushings, cap-
duced a good result. spout fairly tight. Draw this skein of stans, repetition springs, knuckles,
To do the above job, Angelo made string up through the spout by loop- and action centers of the wippen,
his own burning-in knife and his ing a single string through the skein balancier, jack and hammer. In the
own alcohol torch. To make your using it for a leader. cut and square first part of the presentation, a pat-
own knife, here are his instructions: off the wick protruding from the tern seemed to develop, which could
Step 1: Procure medium or heavy spout. A cover for this spout will be be summarized as follows: proper
trap spring for blade. Draw temper needed for if it is left uncovered it servicing of friction areas means
by heating red-hot with blowtorch attracts moisture and will not light repairing or regulating (as needed)
or gas flame. Set aside to cool slowly. readily. A cover can be a pen top or a to restore shape or fit; cleaning,
When cold, cut off small rounded top from an old magic marker. smoothing and/or polishing contact
end with hack saw. Then grind or Another process demonstrated areas, and then applying a lubricant
file to good square end. Polish off was french polishing. The first key if appropriate. Space does not per-
burrs with fine sanding disc or fine to this is to make your pad correctly: mit going into much detail here, but
grinding wheel. Buff or polish end always turn the quarters of a good I think a few items are especially
surface that you will use to apply size square of washed cheesecloth worth mentioning.
burning-in shellac to dents or into the center until you get a nice McLube 1725 Aerosol (available
scratches. full pad. Proceed with pouring your from McCall Piano Service, phone
Step 2: Procure a 7/8-inch dowel, Qualasole (Mohawk) shellac onto 714-622-8826) provides a tough,
broomstick handle, etc. Cut off a 4 your pad and laying smooth light long-life low- friction colorless coat-
l/2-inch length or for a personalized layers quickly over the surface - ing on wood and metal surfaces that
length, one that will feel comfort- many, many coats. A supplier of is ideal in many of the areas men-
able from the base part of your palm wiping cloths, washed cheesecloth tioned. In the areas of the keybed
to where your pointing finger will for padding, etc. is F.P. Carey Co., and keyframe, for example, after
rest comfortably to the curve you Inc.; P.O. Box 1228; New Britain, CT vacuuming, rubbing with naphtha
will be making in the handle to 06050; phone (203) 224-2459. (to remove old graphite and other
apply pressure. Then saw a 17/8- Angelo lived up to the name of his lubricants) and a light sanding, you
inch slot on one end to receive the class. The repairs were almost all can spray one or two coats of
portion of the trap spring that has able to be conducted in the client’s McLube 1725 on the front rail, back
the two holes in it. Round the end home and they were indeed practi- rail and glide dowels of the keybed,
that will fit in your palm and cut or cal. I think many of us caught and on the front and back rails of
rasp the other end and with a curve Angelo’s natural enthusiasm and the keyframe. Clean, smooth and
that will accommodate your finger, were inspired to go back to our shops polish the glides, return spring and
drill and countersink two holes to and do a little experimenting. action guide pins and coat with
hold the blade in place. Install knife Vivian Brooks McLube 1725. Sand the keyframe
Tone and Friction - Facts smooth at the return spring contact
and Fiction area, and spray with McLube 1725.
In this fast-moving and informa- Caution: mask off dark-finished
tive class, instructor Rick Baldassin surfaces to avoid hazing with
covered many areas of friction in overspray.
grand actions, describing general Rick showed us a specially mod-
service procedures he has found effi- ified plug cutter with a drill bit
cient and effective in improving mounted inside that he uses to cut
performance, and at the end demon- maple plugs with neatly centered
strating the measurable benefits of holes. These plugs are very useful
proper friction in a hammer center as substitutes for those hard and
for the tonal output of that hammer. noisy little phenolic inserts you get
Though the emphasis was on with a balance hole repair kit. Rick
grand pianos, some of the processes also showed us a scraper he made
involved would be similar if not from a hacksaw blade which he uses
identical for uprights. My only wish to clean and smooth repetition
is that this class had been about 15 spring slots prior to brushing on a
minutes or so longer, since it ended coating of McLube 1708 Liquid.
just when it was getting most inter- In the last section of the presenta-
W/September 1988 Piano Technicians Journal
tion, Rick covered friction in action
centers. He pointed out that what
we’re after here is not minimum
friction, but rather an appropriate
amount of friction to optimize per-
formance and tone. He suggested
using a gram gauge and pinning
tools to achieve the following specs:
Hammer centers: 5-9 grams,
graduated from treble to bass, so
that you get a consistent 3 l/2 - 4
swings in the swing test for all ham-
mer centers.
Wippen centers: 6 ( + /- 1) grams
(approximately the weight of a Chris Robinson and his spectrum analyzer.
nickel at the flange screw hole)
Balancier centers: 5 ( + /- I> grams
(approximately the weight of a dime
on the drop leather)
Jack centers: 2 - 3 grams (the long
arm of the jack should fall slowly of
its own weight)
For the record, Rick listed his sup-
pliers for special high-quality
reamers: Kleeban Tool, 28 NY Ave.,
Westbury, NY 11590 - Lavallee
and Ide Reamers, .048” to .055”
(straight-fluted, for cloth bushings);
Johnson Carbide Products, 14225 Guild President MB. Hawkins
25th St., Saginaw, MI 48601- .048”
to .05l” (straight spoon reamers, for
teflon bushings).
Finally, with the assistance of
Chris Robinson and his spectrum
analyzer, Rick showed that just
repinning a hammer center aurally
selected due to weak, somewhat thin
tone produced a measurable and
audible improvement. Rick used a
standard weight to play the key, and
Chris took “snapshots” of the sound Institute Director Ernie Juhn Steinway’s 500,OOOthpiano
spectrum before and after the repin-
ning. Many in the class
immediately noticed the change as Welcome to the Laboratory going left to right. The other graph
an audible “blossoming” of the tone, A mad scientist lurks inside many was much more interesting. It
and it showed up on the scope as a piano technicians, including Con- showed, again left to right, descend-
substantial increase in volume of necticut’s slightly brilliant Chris ing sharp spikes at the many
several partials as Chris displayed Robinson. He is an articulate pres- partials of a single piano note. Chris
alternately the before and after ence who respects intellectual vigor demonstrated several techniques of
spectra. The hammer center had and objective judgement. Middle age changing the tone by needling a
been tightened from 8-l/2 swings to and youthful curiosity have inspired hammer or leveling the strings, and
3-l/2. him to embark on a quest for accu- we could then alternate between the
This was a remarkable demon- racy in measuring piano sound. two electronic pictures he had
stration, which clearly showed a On almost everyone’s list as their recorded (before and after needling),
connection between tone and fric- favorite class, “The Voicing Project” and we could watch some spikes go
tion, and should do much to dispel was a peek at Chris’ new fascina- from taller to shorter and back
the myth that action centers are tion, a spectrum analyzer. This is a again, showing a decrease of power
supposed to have as little friction as digital electronic device with a at the seventh partial and an
possible for optimal performance. microphone and display screen that increase at the second partial, while
Thanks to Rick Baldassin for a can show two different graphs of any others remained unaffected. Precise
interesting and enlightening class. sound; the first charts time (several readings of decibels and cycles per
I hope we’ll be hearing more from seconds) and power (volume), and second were available at any fre-
this talented and knowledgeable the second frequency (subsonic to quency. Cool tool.
instructor at future conventions. supersonic) and power. The first Chris-also showed that:
Michael Travis graph shows a picture of the decay, - the upper partials of a tuning
with tall squiggles becoming shorter fork are inharmonic;
September 1988 Piano Technicians Journal/l7
- partials can exist lower than a each damper level under the felt at for servicing, prints out a Daily Ser-
fundamental; the damper rod contact point to pro- vice Report to take with you each
- hammers sometimes sound bet- vide extra precision during final morning, keeps an appointment
ter if you reverse them on the shank regulation. They also use a wood book, does specifiable searches, and
(buy new hammers unbored and rail clipped to the strings to repre- automatically displays memos on
unshaped, and cut the cove on the sent the thickness of the damper any customer, service call, or piano.
correct side with a Forstner bit); felts, so that the damper wires and Mailing labels can be generated,
- sets of hammers from different round damper blocks can he accu- and a Service Journal is kept
makers may have different optimal rately regulated before any felts are monthly that lists appointments,
strike points on the same piano; installed. Several people got volun- mileage, income and service descrip-
- a curved sanding paddle works teered to install parts on the action tion. However, there is no general
well for leveling the hammer to the models under the watchful eye of bookkeeping done by this software,
strings; our tutor. Seeing plus doing equals and it presently includes no inter-
- all objects have a resonant learning. face for dumping data into
frequency; Pianos are designed around the commercially available spread-
Chris Robinson’s inquiring mind hammer line, and the Rappaports sheets. The McAllisters indicated
now is connected to a machine that assemble their actions to reflect that that they might offer linking capa-
inspects sound. His spectrum fact. There is great comfort in bility very soon and very cheap. It
analyzer is a more important elec- understanding an entire process, was written and compiled in Pascal,
tronic tool for research than the because when we can extract a pro- and runs fast enough on an IBM
Sanderson electric tuner, because it cedure if we need to do a spot repair. Model 30. There is instant screen
shows so many dimensions. The Thanks to Priscilla and Joel, more of help available by pressing one key.
addition of this keen eye should soon us know how convenient it is to reg- Like any tool purchase, it is
add new light to the scrutiny of the ulate dampers with no hammer important to ask if it will improve
piano. shanks in the way. your efficiency enough to justify its
After only a year, Chris has cost. This software, written specifi-
barely had time to learn how to ask
Beginners and Brothers cally for the piano technician, has a
Computers were a constant topic
intelligent questions of his expen- hefty pricetag of $795, although
of conversation. Jim Coleman was
sive new toy. Answers will come that is not considered expensive in
the able substitute who taught
slowly, and generalizations slower the computer world. If you need to
“Computer Applications - From
still. He used the word “project” in include the cost of buying the com-
Learning to Earning.” He aimed his
the class title to imply this is an puter and printer, then 3x5 cards
class at the novice, and gave good
ongoing endeavor. His financial and look awfully good, but at least there
advice to anyone thinking about
intellectual commitment is both is a quality alternative.
buying a personal computer. Decide
substantial and admirable. Without Richard McAllister said that he
on software first, then shop hard-
a matron or a grant, it cannot be a wants to establish the standard for
ware. Computers do not always
fulltime endeavor. Pity. piano technician software, and that
make things easier. Addiction can
he wants to scare everyone else
The Method follow acquisition, so beware of
away fromwriting another package.
One of our cuter piano couples is spousal jealousy.
He may have done so, but only time
Joel and Priscilla Rappaport. Jim listed many popular pro-
will tell. Computers gobble up the
“Upright Hammer and Damper grams to consider, like Lotus 123,
future in formidable bites.
Installation - Factory Style” dem- WordPerfect, and Symphony. A
onstrated what the factory in Macintosh fanatic gave a pitch for a Whoa
Germany taught Priscilla when she different type of personal computer, Anyone who has ever driven a car
was rebuilding pianos there. She one that is easier to learn and spe- knows that the most important part
showed us how she assembled and cializes in publishing. Other is the brakes. Dampers serve a simi-
regulated an upright action from information included: copy stores lar purpose - to stop motion. But
empty rails and bags of new parts. sometimes offer high quality laser howcan all that string energy be
First, install the butts. Then put printing at $1 per page (bring in a quickly absorbed by a damper sys-
shanks on the hammers, find the floppy disk containing your docu- tem that itself must not go into
strike line, install the dampers ment, or rent time on their motion? The answer is “very
tucked under where the hammers computer); graphs can be generated carefully.”
will be, and then glue the hammers when calculating stringing scales; John Zeiner is a salt-of-the-earth
into the butts. Priscilla insisted that using specialized software is easier Pennsylvanian with deliberate and
faith in The Method would help us and will save you your valuable measured speech. To zoom through
do top quality work. Keep your time, but is more costly in dollars. decades of information about “Mak-
elbows out, make your body a Richard McAllister had an exhibi- ing Grand Dampers and Trapwork
machine, quick, quick, quick! Her tion booth and taught a Mini-Tech Work” in only 1 l/2 hours surely
insistence on quality and efficiency featuring his IBM-compatible pro- required forbearance on his part.
gave us some insight into the Teu- gram “The Piano Technician’s But, with many slides and no tan-
tonic reputation for high Management System” that was cus- gents, he was able to offer some
craftsmanship. tom written by his twin brother. It succint wisdom on this vast subject.
Dampers are especially well keeps track of over two billion cus- Don’t worry, John said, it’s not that
treated by The Method. The Rap- tomers and ten technicians, lists tough. Just don’t hurry, and do
paports install a small set screw in customer names as they come due everything right.
WSeptember 1988 Plan0 Technicians Journal
He told us now to find the right troller. It is used to drive Chris advises unplugging the power
width for felt strips for rebushing a synthesizers and other MIDI-com- cord before tuning or servicing.
damper guide rail - cut a point on patible instruments, producing a Because these pianos are acoustic,
too wide a strip, pull it through the wide variety of musical and rhyth- not electric, they may be tuned just
hole till the sides meet, then slice mic effects. The MIDI Grand is like any other piano. One should
the trailing part off. To widen a tri- currently made in two sizes, the six- know where the electronic compo-
chord felt, put a silk cord into the foot C3, and the seven-foot-four C7. nents are, however, and be careful
cut (it will stay there all by itself). Because electronic components not to poke them with a mute or
Iron an underlever felt to delay lift are built into both the Disklavier screwdriver.
of that damper. John does not worry and the MIDI Grand, special care is The technology surrounding the
about corrosion on a damper wire at needed in servicing them. Yamaha’s electronic music industry has
the guide rail caused by worn plat- new MIDI specialist, Chris Hoffer, spawned a whole new lingo, so MIDI
ing. And he relayed a trick from a demonstrated the proper way to dictionaries were handed out, as
Japanese technician - set damper remove case parts and actions, and well as basic technical information
wires finger tight into underlevers highlighted the regulation pro- on both pianos. Many thanks to Bill
deliberately too long, then adjust cedures for both pianos. He also Brandom and his team for preparing
rod or block pedal so half blow of passed around one of the sensor materials that even us non- “Mid-
hammer just begins to lift dampers, units, allowing a close-up view of iots” can understand!
pull the action and set wires so the fiber-optic cables used to sense Teri Powell
underlevers touch damper tray (this hammer movement and velocity.
same principle is widely used in ver-
ticals to regulate spoons). 1 COMPLtETE GRAND MUSIC DESKS \
grandfather, and now has four of his
own sons in the business. He said it OLDER MODEL YAMAHAS
was hard for him to talk about Built to your specifications
pianos with grandpa once he got
smarter than his elderly teacher.
May his sons not have the same
Mitch Kiel


Grand - An Overview ,P.O. Box 618 Santa Monica, California 90496 (213) 399-X327/
This new Yamaha class provided
a fascinating introduction to the
company’s two new models, the Dis-
klavier and the MIDI Grand. These
pianos are in fact hybrids, combin- TUNERS / TECHNICIANS
ing the usual acoustic design with a
wide range of electronic capabilities. For best humidity
stabilization in all pianos wherever located
They have strings and soundboards always install a complete
and may be played just like any DAMPP-CHASER@ PIANO LIFE SAVER@ SYSTEM
other acoustic piano. Should the
user desire, however, the electronic Many pianos require more than one DAMPP-CHASER@
components may be switched on, dehumidifier for optimum humidity stabilization
bringing into play an amazing array
of music-enhancing functions. It’s + * *FREE+ or *
exciting to think about the many 3-Foot DAMPP-CHASER@ (or shorter if you wish)
ways they will be put to good use in you choose wattage with purchase of
the educational and commercial DAMPP-CHASER@ PIANO LIFE SAVER@ SYSTEM
areas of the music industry. from your distributor
The Disklavier is basically a
Model Ul studio upright, and may “Offer Expires September 15,1999”
be thought of most simply as a Call toll free 1-800-438-1524 for details on our new H-2
reproducing piano. It uses micro- Humidistat and Low Water Warning Light
floppy disks as a recording medium.
In addition to its playback and Free Sales Aids, etc.
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pose, alter tempo, and interface with Box 1610. Hendersonville, NC 28793
other MIDI-capable instruments (to
name just a few of its abilities). The 8,lslln
MIDI Grand, on the other hand,
may be thought of as a powerful con-
September 1988 Piano Technicians Journal/l9

Institute Review:
The Tuning Classes

Rick Baldassin
Tuning Editor

T he 1988 Institute offered four

classes in tuning. These included:
class not related to tuning. To help
with the review of this year’s
raising process, scale design, and
more efficient aural checks.
“Aural Fine Tuning - for Elec- tuning classes, I have solicited the ‘Recently, he has emphasized aural
tronic Tuners” taught by Dr. help of Peter Briant of the Mon- techniques that permit refinement
Albert Sanderson (Inventronics); tana Chapter, James Coleman Sr. of electronic tuning operations.
“Basic Piano Tuning” taught by of the Phoenix Chapter, and the Sanderson began our class by
George Defebaugh; “Efficient individual instructors of the Mini- discussing the Accu-Tuner’s
Piano Tuning” taught by Charles Technicals. Space and time consid- Stretch Mode of operation. This
Huether; and “A Master Class in erations require that this method (assuming the piano is at
Temperament Tuning” taught by convention review be spread over pitch) requires measuring the
Bill Garlick (Steinway). In addi- two months. inharmonicity between the 2nd
tion to these four tuning classes, The first class to be reviewed and 4th partials of F4 (key F-45).
there were three classes which will be Dr. Sanderson’s class, The result is called the “Stretch
were at least.partially tuning- reviewed by Peter Briant. Number” and is entered into the
related. These included: “Learning Aural Fine Tuning - For Elec- Accu-Tuner’s microprocessor, or
to Listen” taught by Joel Rap- tronic Tuners Stretch Calculator. It computes a
paport; “Please Speak Up - I Dr. Albert Sanderson’s tuning 42-note sequence of values from C3
Can’t hear You” taught by Dr. Bar- class was again sponsored by (key C-28) to F6 (key F-69) which
bara Bohne and Dr. William Inventronics, Inc. This year’s class the operator then transfers to the
Clark; and “So You Want to Be a was titled “Aural Fine Tuning - piano. The Stretch Calculator
Concert Technician” taught by For Electronic Tuners.? The 1 l/2- gives the operator values for 18 4th
Norman Neblett. hour class was offered three times. partials from C3 to F4,12 2nd par-
Finally, there were five Mini- Sanderson’s Ph.D. in Applied tials from F#4 to F5, and 12 1st
Technicals on tuning offered. Physics was granted by Harvard partials from F#5 to F6.
These included: “Pitch Raising” University in 1969. Subsequently, It is interesting that Sanderson
taught by Ruth Brown; “Listening he taught electronics at Harvard himself criticizes the calculated
With Your Accu-Tuner” taught by from 1969 to 1977. He has received values of the Stretch Mode as
James Coleman Sr.; “Tempering eight patents, five of which are being “too perfect.” He says the
the Untemperable” taught by presently used in the Accu-Tuner. Stretch Mode concept looks at the
Michael Kimbell; “Equal Tempera- Dr. Sanderson has been teaching whole piano from “too narrow of a
ment” taught by William institute classes for several years window.” The computed stretch
Stegeman; and “Pitch Raising” now, and as many of you are temperament values derive from a
taught by Sid Stone. aware, he played an important role measurement of inharmonicity
In all, there were 34 hours of in developing the present tuning that is characteristic of just one
tuning and tuning-related classes test. His earliest classes covered string in the middle of the piano.
offered at this convention. This, of temperament and introduced the Due to many factors, a scale’s char-
course, was too much territory for features and use of his inventions: acteristic inharmonicity varies
me to cover by myself, especially the Sight-O-Tuner and the Sander- throughout the piano, so the suc-
considering that I was myself son Accu-Tuner. Later classes cess of a particular stretch
teaching (much to my pleasure) a shared information on the pitch temperament depends on how well
ZO/September 1988 Piano Technicians Journal
suited it is for a specific scale. By tell the tuner explicitly which notes enter a slightly lower Stretch
analogy, if we buy ready-made are at fault and what to do to correct Number (5.5 cents). Notes F#4 to F5
clothes, we should expect a perfect them. Contiguous major thirds will would be tuned to the 5.5 Stretch
fit only if our physique is average; beat in the ratio of four to five Number. The Accu-Tuner would
otherwise, an item may need some because the major third itself con- next be recalibrated (or reset) to
alterations. sists of two notes whose frequencies plus 0.5 cents (retaining the previ-
To determine if the tempera- are in the ratio of four to five. Dis- ously determined 5.5 stretch values)
ment conforms well to the piano, placing any interval up the to tune notes C3 to F4. Then the
Dr. Sanderson suggests that the keyboard will speed it up theo- Accu-Tuner would be reset to minus
operator check aurally at certain retically in the ratio of the 0.5 cents to tune notes F#5 to F6.
locations in order to detect irregu- frequencies of the two root notes This would appear as follows for a
larities in the beat patterns. These involved. Therefore two contiguous piano which measured a 6.0 Stretch
points are where the Accu-Tuner major thirds should beat in the ratio Number:
“downshifts” from reading 4th par- of four to five, two contiguous minor 6.5 cent (5.5 cent (5.5 cent
tials to 2nd partials, and from 2nd thirds in the ratio of five to six. Sim- stretch #, off- stretch #) stretch #, off-
partials to 1st partials, which is ilarly, two contiguous fourths set +0.5 set -0.5
should beat in the ratio of three to cents)
between F4-F# 4, and F5-F$5,
[C3. .F41 [F#4. .F51 ;i$?. . .F61
respectively: four, and two contiguous fifths in
4th partials 2nd partials 1st partials If the Stretch Number is lowered,
the ratio of two to three. However,
[C3.. . . . .F41 [F#4.. .F51 [F#5.. .F61 then notes C3 to F4 must be offset
on the piano this theoretical rela-
18 notes 12 notes 12 notes positively by the amount the Stretch
: shift point : tionship holds well only for the
Number was lowered, and notes F#5
He recommends aurally checking major and minor thirds. The fourths
to F6 must be offset negatively by
the C4-F4 Fourth against the C#4- and fifths are so strongly affected by
the same amount. If the Stretch
I!#4 Fourth to detect a sudden inharmonicity that these contiguous
Number is raised, the opposite
increase or decrease of beat rates. intervals beat at almost the same
would be true. Be sure in all cases to
“The Fourth is our friend,” he says, speeds.
check the shift points between F4-
“Look for them all to beat about the If the aural tests indicate a prob- F#4 and F5-F#5 as described above.
same.” He suggests that if we detect lem, Dr. Sanderson advocates a The above are examples of how
a sudden increase in the beat rate, simple method to adjust the temper- modification of the stretch tempera-
the Stretch Number is too low, and ament values to compensate. This ment might be attempted. I
if the beat rate suddenly decreases, simply involves trying a slightly understand that more detailed arti-
the Stretch Number is too high. higher or lower Stretch Number as cles on the subject will appear in the
At this point in the process, he indicated above. If, for example, we future.
also recommended use of Seven- have selected 6.0 cents for the Sanderson provided a six-page
teenths and Contiguous Interval Stretch Number, and at the shift handout of tables and graphs. Sev-
tests. He says adjacent or parallel point, the beat rate suddenly eral of these showed the effect of
Seventeenths will beat all the way increases, select 6.5 cents as the using wrong Stretch Numbers on
to the top of the piano because the stretch number, re-tune, and test partial frequencies and beat rates in
relationship between the 5th partial again. Repeat as necessary until the comparison to a correct tuning. The
of the lower note and the 1st partial beat pattern is satisfactory. A little remaining charts graphed beat rates
of the upper note stays expanded. practice will speed up this tech- of correctly tuned contiguous
The operator should check with Sev- nique. He advises that only four Thirds, Fourths, and Fifths. My only
enteenths across the shift points notes need tuning in order to test for recommendation would be for the
described above. the adequacy of the Stretch inclusion of a page of explanatory
The operator should also use Number: C4, C#4, F4, F#4. notes either to aid review, or to help
chains of contiguous Major Thirds Another method to modify the someone in the local chapter with
and Fourths to detect irregularity. stretch temperament was consid- whom the handout might be shared.
The reader who is not familiar with ered, as well. As the Stretch Whether we use Dr. Sanderson’s
the term “contiguous” intervals may Calculator creates octaves that are technology or not, we in the field of
understand them as like-intervals one-half beat wide, and as this may piano work must sooner or later rec-
that are stacked on top of each other be too wide for some tastes, adjust- ognize his contribution to our
sharing a common note. For exam- ment can be made by choosing a understanding of the piano tuning
ple: an Augmented Triad (C-E-G#) lower Stretch Number, and “offset- process and the physical forces upon
consists of two contiguous Major ting” the lowest 18 and highest 12 which it is based. It is instructors
Thirds (C-E, E-Gil). These tests very values of the stretch temperament, such as Sanderson that make ours a
quickly identify an irregularity. keeping the middle 12 the same, dynamic, progressive technology. I
These tests have been described in thus retaining A4 at 440 Hz. In believe it would be in the best long-
previous Journals (Baldassin, other words, the Stretch Number term interests of the art of music,
Sept.‘87, p.28.; Sanderson, Nov.‘84, affects the size of the temperament our customers, and our profession if
p.19). The Sanderson article also octave, and the outer two sections of we all shared a little more of his
appears in the Accu-Tuner Operat- the temperament can be skewed up vision.
ing Manual (p. A14). It is useful to or down to alter octave size. Efficient Piano Tuning
quote a brief part: The example suggested in class I was pleased to attend the next
Tests that use contiguous inter- required the operator to determine a class, “Efficient Piano Tuning” by
vals are easy to learn and use, and Stretch Number (6.0 cents), then Charles Huether, and found it most
September 1988 Piano Technicians Journal/Z1
interesting. I felt it would be diffi- As other comparative tests, the it does not matter how one gets
cult to tell Charlie’s stories as well inside M3-outside M6 (G3-B3, F3- there, so long as one winds up in the
as he did, so I am proud to announce D4) test was said to be similar beat- correct place. The class participation
that Charlie will author a series ing, contiguous Major 3rds (C3-E3, is a very interesting aspect of this
based on his class which will appear E3-G#3) vary in speed by approx- class. It demonstrates that there are
in the Journal in the near future. imately 2 bps, and minor 3rds beat lots of ways to accomplish some-
similarly to Major 3rds a whole step thing when the end goal is clearly
A Master Class In Temperament above the upper note of the minor defined.
Tuning third (F3-G#3, A#3-D4).
The final tuning class, “A Master The point was made that as more Learning To Listen
Class in Temperament Tuning” and more intervals become present There were three tuning related
taught by Bill Garlick (Steinway), is for comparison, the whole arrange- classes offered. Excerpts of the
one which I have attended on sev- ment of intervals fits together like a tuning-related material are offered
eral occasions. It was a three hour jigsaw puzzle. Understanding these here. Some of the material is also
class which was offered twice during basic principles, however, prevents technical in nature, but it all ties
the convention. It was mentioned in the whole process from being itself a together. The first class was “Learn-
the class that all fixed pitched puzzle. ing to Listen” taught by Joel
instruments require some satisfac- The Comma of Pythagoras was Rappaport. This was a 1 l/2 hour
tory compromise of what is known explained. This comma is the differ- class taught three times during the
as Just Intonation. This requires ence in pitch between the tuning of convention. The class dealt with the
that intervals be mis-tuned from seven pure octaves and twelve pure special needs of tuning for a concert
Just or Perfect. The act of tuning an fifths. By transposing some of the or concert artist. The point was
interval “imperfect” or “unjust” is fifths downward into fourths, creat- made that in addition to time man-
known as tempering, and we call the ing a circle of fifths, this comma can agement, people management was
result TEMPERAMENT. It was be demonstrated within the scope of also a factor. Instead of the tuner
stated that the combination of one octave. The procedure would be and artist competing, everyone
choices for tempering are over- as follows: needs to be working toward the
whelming, and that for this reason, same goal. This often means being
this class would limit itself to infor- 1. Tune C4 to fork agreeable, and not defensive.
mation which illustrates what must 2. Tune C3 to C4 (Octave) Some special needs of concert
be heard to achieve the compromise 3. Tune G3 to C3 (Fifth, pure) instruments were listed. These were
of Equal Temperament on the mod- 4. Tune D3 to G3 (Fourth, pure) 1) Repetition of the action, 2) Solid
ern piano. 5. Tune A3 to D3 (Fifth, pure) tuning of unisons, 3) Power, 4) Pro-
In equal temperament on the 6. Tune E3 to A3 (Fourth, pure) jection, and 5) Range of Volume.
modern piano, there is not one inter- 7. Tune B3 to E3 (Fifth, pure) The piano must not be an obstacle to
val that is tuned just or perfect. All 8. Tune F#o3 to B3 (Fourth, pure) the artist’s performance. This
intervals are tuned wider or nar- 9. Tune C#3 to F#3 (Fourth, pure) includes the way the action plays,
rower than just and will produce 10. Tune G#3 to C#3 (Fifth, pure) the tuning, and the voicing.
beats. The wide intervals are: Major 11. Tune D#3 to G#3 (Fourth, pure) It was suggested that the piano be
3rds, Major Gths, 4ths, Octaves, 12. Tune A#3 to D#3 (Fifth, pure) touched up before the concert, and
Major lOths, Major 17ths, and Major 13. Tune F3 to A#3 (Fourth, pure) that the technician be available, or
24ths. The narrow intervals are: 14. Tune C4 to F3 (Fifth. pure) “on call” during the performance. If
minor Srds, and 5ths. As you may have noticed, C4 has the artist requests that the charac-
Bill made the point that to take a been tuned twice. Use a different ter of the instrument be changed,
single interval and temper it by lis- string of the unison each time. The permission from the owner of the
tening to the resulting beat is not difference between the the two uni- instrument as well as money to per-
accurate enough. It is necessary to sons of C4 is the comma. Getting rid form such operations should be
test each note of an interval to a of this comma was the reason for secured before anything is changed.
third note, which we call the test tempering these intervals. When tuning for a concert, it is
note. This creates three intervals, The next portion of the class is important not to change anything
one actually being tuned, and two very interesting, as it never hap- drastically. This includes the voic-
others whose beats we compare to pens the same twice. With the above ing, and the pitch of the piano. What
determine the accuracy of the inter- background laid, members of the is of primary importance is the solid
val we are tuning. As examples of class are asked to particpate by tuning of unisons. Nothing will
interval tests, the M3-MlO, 4th~5th, tuning a note in the temperament. destroy a performance faster than
and m3-M6 tests were presented as (Reference was made to this class in out-of-tune unisons. Good tuning of
suitable octave tests in the tempera- the June ‘88 Journal). This whole double and single octaves is also
ment section. In all cases, the beats process defies a given system for the important in concert tuning. When
will be similar for the various tests. tuning of equal temperament, as tuning, it is important to move the
The M3-M6 test was presented as a you have no idea what the person pins as little as possible. Solid
test for the wide 4th, and the m3-M3 before you will have tuned, or from tuning is achieved by setting the pin
test was presented as a test for the what note, etc. It is interesting that correctly and solidly, and at the
narrow 5th. In both cases the differ- in all the classes which I have same time settling the string with
ence between the beat rates should attended, a suitable temperament firm blows.
be about one beat per second, the was achieved by the end of the class. After the piano has been tuned,
Major Third slower in both cases. This leads me to the conclusion that make sure there are no blocking
ZWSeptember 1988 Piano Technicians Journal
notes and that there is sufficient some showed temporary hearing was presented which showed how
aftertouch. Take care of any minor losses at the time, most had fully many decibels of noise varying
voicing problems. Noises such as the recovered within a day or so. The devices create, and how many min-
string barely being hit by the edge startling fact was that the damage utes of exposure at certain decibel
of the hammer, or the hammer not incurred was very permanent, and levels were considered safe. New
hitting all three strings at the same that the loss would be permanently technology, such as digitally pro-
time should be taken care of well suffered at some later date. For this grammed hearing aids, were
ahead of concert time. If possible, it reason, we should take utmost care discussed. It was suggested that
was suggested that a final tuning to reduce noise levels to our ears everyone have a regular hearing
check be made after the lights have while running shop equipment, fly- test, such as was given at the con-
been turned on and the piano has ing in airplanes, using firearms, etc. vention.
adjusted to this new temperature, Examples of noise reducing devices This is something which each of us
just before the concert. It must be were shown, with their accompany- needs to be aware, and I would
emphasized, however, that only the ing noise reduction rating. A chart encourage your participation in
most minor of adjustments should
be made at this time.
It was suggested that the follow-
ing items be checked just prior to
leaving the instrument before the
concert: 1) Make sure the pedal lyre
Piano Technology
Our two year Piano Technology program will give you the knowl-
is secure, 2) Make sure the pedals edge and skills necessary for a rewarding career as a professional
are working, 3) Make sure the key- piano technician, whether or not you play the piano.
slip is in place, and that the keys do Your First Year comprises tuning, regulation, repairs, and
not bind against it, 4) Make sure maintenance on grands, uprights and spinets. There’s als
that the legs are secure, 5) Make the general study of acoustics, history of the piano,
business practice and promotion.
sure that the lid is in the proper Your Second Year advances you to comprehen-
position, and 6) Make sure the sive piano rebuilding, including case refinish-
music rack is in if the artist wants it ing, sound board repairs, bridge, wrestplank,
in, or out if the artist wants it out. action replacement and scaling. Advanced
Various artist-technician situa- tuning, regulating and voicing make it com-
tions were presented, with possible Instructors: David C. Betts, R.T.T.,
solutions for each. To re-emphasize, Christine Lovgren, R.T.T., John. E.
the most important point to be made Stebbins, R.T.T.
in regard to tuning was the need for Financial aid. Accredited Member NATTS.
solid unisons. I could not agree For catalog, write or call (617) 227-0155.
Please Speak Up - I Can’t Hear 39x North Bennet Street l Boston, Massachusetts 02 113
The next tuning related class was
“Please Speak Up - I Can’t Hear
You” taught by Dr. Barbara A.
Bohne and Dr. William W. Clark.
This was a 1 l/2-hour class taught THE FAZER PIANO
twice during the week. My schedule
prevented me from seeing this class You’ve seen it, heard it, and played it
in its entirety, which was my loss. It
was very well presented, and At the PTG in St. Louis
explained how and why hearing
deteriorates with age and exposure
to noise. Our ears are such a vital
part of our business, that it is our
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showed the results of listening to Pronounced alternative to
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cert. It was interesting that while
September 1988 Piano Technicians Journal/Z3
classes of this nature, and the hear- concert tuners tune double octaves 7. Plate crack*
ing tests, offered at future in the treble, and that it is impor- 8. Pins loose*
conventions. tant for us to listen as well with our 9. Pins/strings rusty
“musical ears” just as the artist 10. Pins pulled down
So You Want To Be A Concert 11.Upper bridge cracked*
does, before we are satisfied that are
Technician 12. Strings missing
The final tuning related class was treble is tuned properly. The bass
should be tuned with lots of stretch, 13. Strings replaced
“So You Want to Be a Concert Tech- 14. Strings tied
nician” taught by Norman Neblett. such that there is a pronounced roll
in the 17ths. There is a lot of music 15. Strings rewound (number of
This was a l-l./2 hour class offered coils)
three times during the convention. which ends with 17ths in the final
chord, and this roll gives the piano a 16. Number of strings
This class was counsel and advice to 17. Bridge cracks*
aspiring concert technicians based sort of vibrato, which the pianists
like. 18. Separation of bridge cap*
on Neblett’s 30-plus years of experi- 19. Separation of bridge to apron*
ence in this field. Both the Caution was given against altering
pitch very much. The piano must be 20. Separation of bridge to sound-
advantages and disadvantages were board*
clearly spelled-out. in tune before you tune it. A concert
piano is always in tune. If it goes out For the above, all items marked “*”
A brief history of the concert require that the proper repairs be
industry was given as a background of tune during a concert, you stay
afterward and tune it again so that made before the pitch is raised.
for the loaning of pianos and Next, eight different ways of raising
endorsement by various artists. In it will stay in tune for the next con-
cert. It was recommended that you. pitch were discussed:
addition, the class told of several 1. Normal tuning (pounding hard)
snares to avoid, and gave an actual have in writing the policy regarding
the pitch of the instrument from the 2. Setting a temperament, then
example of each. Issues such as tuning wide octaves
making major changes before a con- house or dealership. This will help
prevent problems from artists who 3. Tuning by octaves (all A’s, then
cert, and artists selecting pianos all D’s, etc.)
were discussed. want the pitch of the instrument
altered, without regard to the work 4. (if l/2 tone low) start with note
Several aspects relating to tuning. #l, pull to #2, etc.
for a concert were set forth. One was involved to get the piano back to the
proper pitch. 5. (if l/2 tone low) use second piano,
that it is important for the piano to if available
be stored in an air conditioned room, A checklist for unfamiliar and
familiar pianos was given to be gone 6. (if l/2 tone low) use tuning
so that it will be stable when moved machine
to the concert stage, which should through before each concert. These
included items such as making sure 7. Special procedure for antique
also be air conditioned. The impor- pianos
tance of humidity control was also the lid hinge pins were in place, that
the pedals function properly, that 8. Silent tuning (Pitch Raise in five
emphasized. The issue of tuning
with the lights on or off was raised. there were no leaking dampers, minutes)
The point was made that the piano tight action centers, etc. Finally, five items were presented
must be tuned while in a stable While we in this business look at for discussion:
state. When the lights are turned position of concert technician as a 1. Convincing the owner of the need
on, the piano loses moisture and is position of glamour and prestige, to raise pitch
therefore unstable. A piano should Neblett cautions, “With prestige 2. Whether or not to warn the cus-
never be tuned when it is unstable. comes responsibility.” tomer of possible damage
Since scheduling and budgets rarely Mini-Technical Review 3. What additional time and costs
permit the piano to sit under the The Mini-Technicals were l/2-hour are involved
lights for periods of time long classes taught once during the con- 4. Preventing string breakage
enough to stablilize at the higher vention. Of the five Mini-Technicals 5. How much above pitch to tune.
temperature, it is best to tune the offered on tuning, three will be Equal Temperament - William
piano with the lights off, while the reviewed this month. The reviewer Stegeman
piano is stable. When the lights go in each case is the instructor, who This Mini-Technical consisted of
on, the tensions will change equally, was asked to present a brief syn- suggestions and demonstations on
and the piano has the best chance of opsis of the class. how to present and explain tempera-
staying in tune. Pitch-Raising - Sid Stone ment and other aspects of music
The most important aspect of con- In this class, Sid Stone, of the intonation to music educators,
cert tuning is unison tuning. The Golden Gate Chapter, presented a teachers, instrumental and vocal
stability of unisons will make or list of twenty check points for deter- groups.
break a concert by an artist, who is, mining whether or not to raise pitch The first demonstration showed
after all, playing for the critical on a given piano. The checklist was beats always occur when consonant
acclaim of the public. Stability is as follows: intervals are not in perfect tune.
achieved by settling the string, not l..Age of the piano Several 5ths, 4ths, M3rds, etc.,
by turning the pin, and caution was 2. When the piano was last tuned were tuned pure, then de-tuned
given against a lot of up and down 3. How far the pitch is below A-440 slightly to demonstrate the beat
turning of the pin, as it leads to (Standard Pitch) phenomena.
instability. 4. Pinblock Separation* The next demonstration was to
A discussion of octave tuning was 5. Pinblock vertical splits that three connected just Major
presented. It was stated that most 6. Full or 3/4 plate Thirds fall short of a true octave by
24lSeptember 1988 Piano Technicians Journal
approximately l/2 semitone. For rupted momentarily at the point along with the remaining tuning
example, if just. Major Thirds were where the lower note of the third classes. If you did not attend the
tuned from C3-E3, E3-G#3, and G#3- changes from wound to unwound convention this year, I am sure you
C4, the C3-C4 octave would be flat strings. can see that there was a great deal
by about If2 semitone. He also demonstrated a “rough- of information to be learned. I hope
The next, demonstration was to and-ready well temperament” for that these reviews were able to con-
that four connected just minor situations in which any semblance vey at least a part of what was there
Thirds exceed a true octave by of equal temperament is a lost to be offered, and encourage you to
approximately l/2 semitone. For cause. attend the next convention.
example, if just minor thirds were Both of these procedures will be Until next. month, please send your
tuned from C3-D#3, D#3-F#3, F#3- described soon in a future Journal comments and questions to:
A3, and A3-C4, the C3-C4 octave article. Rick Baldassin
would be sharp by about 1/2 semi- The remaining Mini-Technical 2684 W. 220 North
tone. classes will be reviewed next month Provo, UT 64601
The final demonstration was to
show how limited a Just Diatonic
Scale is when using harmony. A
number of just and tempered chords
were then compared to show the
need for temperament when using
The Stradivarius
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September 1988 Piano Technicians Journal/Z5

ing for the Station. THIS IS IT!
Letters However, sooner or later we must
realize there is no Station, no one
place to arrive at once and for all.
Dear Friends and Colleagues: The true joy of life is the trip.”
During my years of PTG activ- Since joining ASPT in 1954 and
ities I have received several merging into PTG in 1958, I real-
awards including induction into ize more and more each year
the Hall of Fame during the Kan- what a wonderful trip this is.
sas City Convention in 1985. But Teaching, learning, sharing trea-
this was IT! When I heard my sured moments with good friends
name called for the Golden Ham- -that is what IT is all about.
mer Award in St. Louis, I was so My wish is to be able to continue
excited I jumped up and rushed to this special trip as long as
the podium without my cane! possible.
Last year my colleague, Jim Col- In closing I would like to offer
lins, sent me excerpts from an heartfelt thanks to each of you for
article called ‘Happiness Is’, your decision to award me this
which recently ran in Reader’s beautiful Golden Hammer, and
Digest, and I would like to use a especially to Bill Smith, a true
few of these words to put my rela- artisan, for his many hours of
1988 Golden Hammer winner George tionship with PTG in proper handcrafting this magnificent
Defebaugh, center, is congratulated by former perspective. case.
winner Stanley Oliver. Below, Roger Weisens- “In our subconscious minds we In the excitement of the event,
teiner, left, receives Member of Note Award often see ourselves on a long and I must not overlook another
from incoming President Berry.
pleasant journey on a passenger award that was presented as I
train. The view from the window stood at the podium clutching my
is most pleasant, but uppermost precious Golden Hammer. Stan-
in one’s mind is the final destina- ley Oliver was called to the
tion. On a certain day, at a microphone to present to me a
certain time, we will pull into the beautiful walnut and brass
Station. There will be bands plaque which said simply,
playing and flags waving, and “George Defebaugh, thank you
once we get there all our wonder- noble spirit, teacher and friend.”
ful dreams will come true, all Visually impaired PTG members,
wishes will be fulfilled. We pace I shall treasure this always.”
the aisles waiting, waiting, wait- George Defebaugh



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ZblSeptember 1988 Piano Technicians Journal


Paris Becomes A Piano-Making Center

Jack Greenfield
Chicago Chapter

Parisians’ Interest control began to weaken during the English square pianos began during
In Music late ’70s when the harpsichord the next few years, most buyers pre-
France followed the lead of Eng- began to decline before the advance ferred them to instruments from
land, Austria and Germany during of the piano. Germany and Austria. The public
the years from the middle 1760s to debut of the piano in Paris occurred
1780 in abandoning the harpsichord Use Of Piano Increases at a Concerts spirituel performance,
for the piano. Most French musical Notices offering pianos in Paris, one in an important series of public
activity was concentrated in Paris, a probably imported from Germany or concerts that had been started in
city with over 800,000 inhabitants, Italy, first began to appear in 1759. 1725. Mademoiselle Lechantre
the highest city population of any in As pianos became more common, played an English piano, probably a
Europe. Politically and economi- Johann Gottfried Eckhard, a lead- square built by Zumpe. Gluck, who
cally, France was in serious trouble. ing composer of keyboard music in came from Vienna in 1773 to write
King Louis XVI, who succeeded his Paris, published sonatas in 1763 and for the Paris Opera, used a small
grandfather, Louis XV, in 1774, took 1764 intended for pianoforte piano made in England by Zumpe’s
over a country that was deep in debt although offered for harpsichord competitor, Pohlman.
after loss of its North American and also. After the importation of
Indian colonies to England in 1763. French Instrument Makers
In spite of the heavy tax burden car- Start Building Pianos
ried by the other classes but which Since Eckhard, Schobert and
the aristocrats and upper clergy other prominent contemporary com-
were able to avoid, Paris continued posers in Paris had come from
as Europe’s foremost center of music Germany, it could be expected that
and other fine arts. Foreign musi- more piano builders would have fol-
cians, singers and composers were The trade was controlled by lowed them there instead of going to
welcomed to serve in performance at rigid guild statutes that London as Zumpe and other Ger-
concerts, opera and private func- mans did during the 1760’s. It is
tions and in teaching. Paris helped restrain competi- likely that they chose London
provided a large market for music tion. Except for sons who because there they would find no
publishers who offered works of guild restrictions which would pre-
French composers as well as Ger- inherited their father’s vent them from opening their own
man and Austrian imports. shops, beginners had to shops.
Hubbard reports that over 60 The first Parisian instrument
harpsichord makers worked in Paris
serve long apprenticeships builder known to have made pianos
during the 18th century before the without pay and then had is Johann Kilian Mercken. A
harpsichord became obsolete in the to work asjourneymen square piano with his name and the
final decades. The trade was con- date 1770 is the oldest surviving
trolled by rigid guild statutes that before acceptance as a example of its kind built in Paris.
helped restrain competition. Except master. In 1772, L’Epine, a prominent organ
for sons who inherited their father’s builder, obtained a patent for a
shops, beginners had to serve long piano action to be part of a piano-
apprenticeships without pay and organ combination. During that
then had to work as journeymen year such an instrument was played
before acceptance as a master. Guild at a Concerts spirituel performance.
September 1988 Piano Technicians Journal/27
It could have been the one built by Harding). The hammers are hinged rior, Taskin also became a dealer for
L’Epine or by another maker work- to a rail but rest with the heads pianos built by others. Broadwood
ing on such combinations. toward the front. Long, thin inter- records show a 1784 order from
mediate levers which function as Taskin for four square pianos to be
wippens are hinged to a lower rail to sent to King Louis XVI. The inven-
Taskin’s Pianos swing from the front in the direction tory of his shop after Taskin’s death
With pianos increasing in popu-
opposite the movement of the ham- in 1793 (listed by Hubbard) shows
larity, harpsichord builders could no mer shanks. The back ends of the
longer feel secure in their business 50 keyboard instruments. Among a
intermediate levers press up against total of 23 pianos, only four are iden-
and ignore the piano. The most
prominent harpsichord builder of long thin jacks attached directly to tified as Taskin’s. Eleven are shown
the period was Pascal Joseph Taskin the lower hammer butt surfaces. At as being built by English and other
the back ends of the key levers, manufacturers, and eight are listed
(1723-17931,a Belgian assistant who
knobs on small wooden blocks used merely as “fortepianos.”
had married the widow of Francois like modern capstans lift the back
Etienne Blanchet II in 1766 and had Taskin did originate one practical
ends of the intermediate levers. The idea found in modern pianos. He
then taken over the Blanchet family
damper wires are also attached was the first builder to loop single
business. During their 80 years of
directly to the hammer shanks just strings around hitch pins for uni-
operation the Blanchets had risen to
above the jack attachments. Hard- sons instead of using separate
become the leading suppliers of new
ing’s drawing shows no escapement, strings. His arrangement for
and rebuilt harpsichords in France.
back checks or regulating mecha- replacing tuning pins, however,was
Taskin continued the traditional nism. Taskin’s action appears slow,
excellent craftsmanship of the firm less satisfactory. He used hooks
clumsy and impractical. held horizontally in a thick strip of
and built harpsichords considered
by Hubbard to be among the best Since his own pianos were infe- wood. The straight stems of the
ever made in any country.
Soon after he began to direct the
business he had acquired, Taskin .-... _-I .---.
..- _- .----

took steps to increase the capa-

bilities of the harpsichord for
greater variety in timbre and
dynamic shading. One change he
made was the addition of another
set of jacks with soft leather plectra
giving softer pianissimo than possi-
ble with the conventional quills. In
addition, to make it possible for
players to shift registers rapidly
without use of hands, Taskin
designed a mechanism operated by
knee-levers below the front edge of
the keyboard. Six square knee- I

levers were linked by rods to shift R. Harding ~21.

any one of the four registers into
playing position either alone or in
combinations. Taskin’s sophisti-
cated instruments were judged the
best for the compositions of French
harpsichordists but the prospects for
the sale of these expensive instru- “The King,” says the proclamation:
“informed that Master Erard, by a
ments for music that was becoming new method of his own invention,
out-of-date were quite limited. In has succeeded in improving the con-
1776, Taskin finally started building struction of the instrument named
square pianos like those coming the fortepiano, that he has even
from England. A 1777 inventory obtained preference over those man-
shown by Hubbard indicates that ufactured in England, in which there
Taskin had five square pianos in his is quite a traffic in Paris.. . and
shop then. It appears that Taskin’s wishing to honor him for contribut-
pianos were not successful and he ing to the useful and the agreeable
made only a few. Of the only three arts, has permitted him to manufac-
ture, have manufactured, and to tell
still in existence, one in Paris is a fort&pianos in Paris, its suburbs, or
square. Other pianos, one in Ver- anywhere he pleases . . .” Proclama-
sailles and one in Berlin, are tion by King Louis XVI authorizing
grands. The action in the instru- Erard to continue manufacture of pianos
ment dated 1787 in Berlin is a (translation by Loesser)
hybrid design which can be classi-
fied as “Anglo-German” (shown by
28Aeptember 1988 Piano Technicians Journal
hooks that passed through the strip Erard pianos raised their esteem in
were threaded on the fronts ends the minds of the French public. As
that projected for nuts that could sales of Erard pianos continued to
turned to adjust tension of the increase, other firms that imported
strings caught on the curved hook English pianos for resale became
ends. alarmed. To halt the threatened
Erard’s Start As loss of business, they tried to stop
An Instrument Maker the Erards by invoking old guild __

__ ITt,‘ 10 StiCCE‘l

The builder who provided techno- regulations. Sebastien fought his

logical leadership first for the competitor’s attempts and with the SYNTROM
French, and then for the entire help of his influential aristocratic
piano industry was Sebastien Erard friends he received authorization SELL
(1752-1831),with assistance from his from the King to continue. WITH
brother, Jean Baptiste (1745-18261, More Piano Shops
and his nephew, Pierre (1796-1855). Established In Paris NOW
The son of a cabinet-maker in Interest in the harpsichord FOR
Strasbourg, young Sebastien dropped rapidly after 1780. Public
showed many talents with unusual advertisements appeared offering DISTRIBUTORS
aptitude for mechanics, drawing and harpsichords in exchange for other ‘legal-serviceplan&a pmducttharbarelyexisted10
geometry. He came to Paris in 1768 instruments or object, or for sale at years
ago,suddenlyambeingseenas agn?at
to seek employment. Soon after low prices. Pianos were being marketing
arrival he dropped the “h” from the played more frequently in private as
Erhard family name. It is possible well as in public. At a 1786 Concerts “lhe planshavespreadso wide/yandrapidlythat
that previous experience or other spiritual performance, 11 different about50millionof us will be subscribingto theplans
association with the Silbermann pianists played piano solos. Harpsi- by Ihe endof this decade.”
family of instrument builders in chord builders who did not make
Strasbourg may have influenced his pianos dropped out of business.
decision to begin an apprenticeship From several dozen earlier in the SVNTROMLEGAL
to a harpsichord builder in Paris. 8Os,the number of harpsichord CALLSVNTROM
Sebastien learned his trade builders listed in a contemporary (2131
759-9401 LOSANGELES,
quickly. Eager to advance, he asked reference had dropped to only five in
many questions -too many for his
first master who discharged him for
his inquisitiveness. Sebastien soon
found another employer who had
greater appreciation for the young
apprentice’s extraordinary ability.
His work on a harpsichord for the
Duchess de Villeroi established FINEST TUNING?
Sebastien’s reputation for excel- THEACCU-TUNERTMCAN!
lence. This led to sponsorship by the It’s a jungle in there.
Duchess who provided him rooms That’s why you need the Sander- k- %
for a workshop and living quarters son Accu-Tuner.Not only does - !
in her chateau. Working by himself, it help speedyou through even
in 1777 he built his first piano here, the most ruggedterrain, it will
a copy of a Zumpe square. He con- alwaysrememberthe way. This 2,
tinued to build more of them after amazingcomputercan store
up to 208 tunings. What a
friends of the Duchess heard the memory!
piano and began to order pianos for Now, you can tune fasterand si 1. _ ‘7
themselves. As the number of more accuratelyeverytime. And
orders continued to rise, Erard you won’t haveto rememberhow
found he needed more space and great your last tuning was,you
assistance. It was time for him to simply recreateit.
The SandersonAccu-Tunerby
move. He proceeded to open a shop Inventronics. For the time you
of his own in Paris and asked his save,the price is but peanuts
brother to come join him as a Sendtoday for the FREE
partner. lnventronics catalog: -If
Erard square pianos made in the
early years of the firm were copies of
the Zumpe design with the Zumpe
single action. Other builders made
Z nventronics,
171 Lincoln St. Lowell, MA 01852 COWpOCf,
lighhueigh, fasi
similar instruments but original
Zumpes had more prestige in France l-800-FAST440 TheSanderson
ACCU- TUner.
In MA, 617-459-2312
as well as in England. In time, how-
ever, the superior workmanship of
September 1988 Piano Technicians Journal/29
1791. Guild restrictions were no an action shift for hammers to strike French piano trade was given new
longer effective and some of the new one, two or three strings of a tri- assistance by passage of French
instrument makers now building chord. Another was a “Harmonic laws in 1793 and 1795 restricting
pianos in Paris were recent arrivals Sounds” device with which wire- and then forbidding imports of Brit-
from Germany. mounted felt tips were brought into ish origin.
Erard Establishes light contact with strings at the
A Branch In London middle points to sound the octave Sebastien Erard’s Return
With competition in Paris grow- partials. To Paris
ing, Sebastian Erard took steps to After the Constitution of 1795 had
expand by setting up a branch in Effects Of The French restored order, Sebastien returned
London. He may have left also Revolution to France, leaving the Erard branch
because he anticipated personal During the Revolution, musical in England to continue in operation
danger if he remained in Paris. activity was reduced but not under a manager for the firm.
France was on the brink of revolu- stopped. Regular opera perfor- Pianos were manufactured here
tion and his friendship and past mances and public concerts until 1890. Using factory methods
association with members of the continued and segments of the popu- of production Sebastien had learned
aristocracy could have caused him lation not directly involved in the in England, the Erard shop in Paris,
trouble. He departed in 1786, leav- conflict continued to play the piano enlarged after his return, started
ing his brother Jean Baptiste to and take piano lessons. There was manufacturing large numbers of
manage the Paris shop. Sebastien some concern, however, over the loss square and grand pianos. The first
began manufacturing operations of support for music by patronage of grands contained a modified form of
soon after his arrival in London. the aristocracy. When the National the English grand action. Sebastien
English interest in the piano was Convention met in 1792 to form a also experimented with Viennese
rising rapidly and the excellent new constitution, they decided to actions but found them less satisfac-
craftsmanship of the Erard pianos provide new support by establishing tory. An existing grand he built for
assured their acceptance. While a National Institute of Music, later Beethoven has an English grand
running his successful business, known as the Conservatoire. The action. Another Erard piano, a
Erard also increased his skill and faculty was authorized to confiscate grand for Napoleon, contains a
knowledge by what he learned from condemned aristocrats “the Viennese action. Erard also made a
through his association with other best musical instruments for use of grand piano for Haydn, but this one
builders in London, among them the Institute.” An inventory of key- has disappeared.
Broadwood. board instruments collected after 15 Until the early 1800’s, Erard had
After several years in England, months shows the relative numbers followed established designs with
Erard began to work on improve- in use. The total for harpsichords relatively small modifications. In
ments in design. His earliest pianos was 63, over one-third from 40 to his later years he worked on more
had been copies of Zumpe’s single 150 years old. There were 20 French advanced original ideas. He con-
action square piano. In 1790, he makes among the 64 pianos with ceived and patented a large number
adopted the Zumpe second or double most of the rest English. Twelve of of drastic changes in piano structure
action although more builders were the French pianos were built by and actions. This led to his greatest
changing to the Geib double action. Erard and 16 of the English pianos achievement, the Erard repetition
Erard also developed some original were built by Zumpe or his suc- action patented in 1821, which is the
mechanisms he patented. One was cessor, Schoene. Subsequently, the basis for the modern grand action. W

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SO/September 1988 Piano Technicians Journal



Summer NAMM Report

Susan Graham
Technical Editor

I t is accurate and healthy to

regard the piano market as becom-
rent. (I was also curious to see if
the show would be less overwhelm-
steam-remove key bushings. Nev-
ertheless, pianos were being tuned
ing specialized, rather than simply ing a second time around.) My - southern technicians are a
dying. Technicians need to keep conclusion is that changes do tough bunch. That night the air
informed about industry develop- occur, but slowly; extensive bi- conditioning turned on, and vir-
ments to be effective as a working annual reports do not seem neces- tually every piano in the place
cog in the whole. Granted, our sary. This magazine will continue promptly went flat. Were I a para-
“working” seems more real to us to report industry news as it occurs noid person, I’d suspect a plot
than does sales or marketing. We throughout the year, however. arising from the electronic key-
are responsible for solving the board segment.. .
problems of the piano-playing pub- A further conclusion was a rein- Too many pianos and none of
lic, and so are most concerned with forcement of my original them in really outstanding condi-
technical matters. However, the observation: the NAMM show is tion, called for some narrowing of
broader our base of information, too enormous an event to cover scope. As I wandered the hall it
the better we can do our job not completely. Due to the size, and seemed that large vertical pianos
only as technicians but as coun- emphasis on marketing, it is not were more in evidence than ever.
selors and advocates for our the venue in which to judge pianos Almost everyone makes a 45inch
customers. fairly. There are extenuating cir- studio; sales people tell me that
cumstqnces which conspire against these and the larger uprights are
For that reason, I did a fairly everyone; for instance, the lovely increasingly popular. This sug-
extensive report on the January Atlanta climate. During set-up, I gested a way to compare apples to
NAMM show. When the June show descended to the lowest floor of the apples, to give an overview of
in Atlanta rolled around, I was Georgia World Congress Center, trends and a more fair basis of
curious to see what changes occur and found myself in piano tuners’ comparison from brand to brand.
in the industry in six months, and hell. The outside temperature was “Big verticals” became the focus of
to see whether regular attendance 105 degrees; downstairs it was well this report.
would be necessary to keep cur- over that, and humid enough to Evidence of the trend toward the
September 1988 Piano Technicians Journal/31
larger piano was the fact that Kim- use a Langer 80 action and keys Our old friend the Hamilton stu-
ball showed no spinets. Their 46- from Herr-burger Brooks. The dio was.redesigned by Del
inch studio is a noticeably actions were on the loose side - Fandrich several years ago. Bald-
improved piano, with a solid Sitka perhaps a climate reaction - and win is up to full production on this
spruce board, three bridges and the the tone was quite bright. model, which has a new stringing
Langer BP action built by Herr- Sherlock-Manning, from Can- scale, new bridge design and a
burger Brooks, featuring the ada, was showing a new 45inch radial rib pattern. The plate has
auxiliary jack-control spring piano which combines the old been stiffened and the pinblock
extending from the catcher. This Heitzmann and Sherlock-Manning design changed to improve tuning
action is functioning well, scales. They use a solid spruce stability. I couldn’t judge the sta-
although spring tension and board, ribs notched into the case, bility under the circumstances, but
checking distance must be cor- Pratt-Win keys and action and the piano has a smoother bass/
rectly regulated for backchecking Standard hammers. They also tenor break and puts out a lot of
to be reliable (spring regulating market a separate line of high- sound. Baldwin’s big upright, the
tools are being distributed to tech- quality benches. 6000, remains the same: the
nicians at conventions and models shown had a less agressive
seminars). Tone was well balanced Wurlitzer is a company in tran- tone than the Hamiltons; actions
throughout the registers. Improve- sition. Now owned by Baldwin, in this larger piano had a pleasant
ments coming from this company they make 45inch pianos in both “weight” to them.
are an encouraging sign for the the Wurlitzer and Chickering Also using a Pratt-Win action
American piano industry. lines, and have a 48-inch made for are the Everett pianos built by
The continuing efforts of the them by Young Chang. They are Yamaha in Georgia. The stringing
Sohmer Company are also encour- working particularly hard to scales on these pianos have been
aging. As a company in a state of improve their hammers, and more cleaned up, reflected in better
re-building and reorganizing, they care is going into voicing - they sound. They continue to manufac-
are experimenting in a variety of now use a “standard” piano for ture a variety of large uprights
ways. For instance, the Sohmer comparison by the voicers. The (under the Yamaha name), in 45-
U-10 vertical uses a Pratt-Win verticals on display had a lot of inch, 48-inch and 52-inch. They
action, constructed to their specifi- sound but were somewhat uneven are consistent and reliable instru-
cations (top quality buckskin and -the 45-inch pianos were gener- ments, characteristic of what we
bushing cloth). These were side-by- ally more pleasing than the 48. expect from this company. The
side with two Mason & Hamlin 52- Although not in the vertical cat- vertical Disklavier features all the
inch verticals, one with a Pratt- egory, it should be mentioned that MIDI capabilities of the grand
Win action and another with a this show marked the official intro- described in the January report,
Herr-burger Brooks. They were duction of the Falcone piano to the and adds the benefit of playback
three very different pianos: even NAMM crowd. Santi Falcone through the actual piano. It is a
though the two Mason & Hamlins made the wise move of renting a wonder to behold and play (it also
were weighed off to identical touch- quiet room upstairs; the pianos happens to be quite impressive
weight specifications, for attracted a great deal of attention simply as a good upright piano -
instance, the Pratt-Win had a and appreciation. The company and at around 9K, not an outra-
noticeably “heavier” feel. The makes 6’I”, 7’4” and 9’ grands, and geously expensive purchase). The
company is also experimenting is producing 200 units a year company sees the MIDI system
with a “polyester-type” finish (prices range roughly 22K-45K). linking acoustic and electronic
which can be sprayed with stan- They use Renner-made hammers music as a potential savior of the
dard equipment and touched up in and action parts, and Kluge keys. piano, not as its enemy. As Bill
the traditional manner. They have It is no secret that many features Brandom puts it, a performance on
up to a one-year backorder: one are similar to some more familiar electronic instruments comes
concern right now is just getting designs in the industry, but it is across as a statement of technol-
units out. also evident what quality of work- ogy; combined with an acoustic
manship can do. The actions felt piano it once again becomes a
Other small companies were pre- wonderful - voicing seemed a lit-
sent. The Charles R. Walter statement of art.
tle uneven but there were so many
company showed a variety of con- pianists taking advantage of the Kawai is, to coin a phrase, heavy
soles and studio pianos. Charlie concert-hall atmosphere it was dif- in the vertical market, with 45-,
Walter’s engineering background ficult to make a fair evaluation. 46-, 48-, 49-, 50-, and 52-inch
is evident in features such as As usual, Steinway was pianos. They all demonstrate sim-
grand-shaped harmonic traps on sequestered in a suite in a hotel ple good piano construction. The
the soundboard, a reinforcing several blocks away. They did largest of these includes two extra
brace under the treble bridge briefly display the commemorative strings at the lower end of the bass.
where it is notched for the plate piano about which we have heard These strings are damped: rein-
strut;true notching (not just bev- and read so much. Knowing I forcing of the bass occurs when the
elling) on both sides of both would have another chance to see pedal is engaged. They also func-
bridges, and bearing “rods” which it in St. Louis I decided to con- tion as do extra bass strings in
enables them to use a precut tinue devoting my time to the more other pianos: to extend the bass
bridge and adjust the bearing to accessible instruments present in bridge and soundboard to enhance
the individual plates. The pianos the exhibition hall. the resonance of the normal range
St/September 1988 Piano Technicians Journal
of the bass. Ray Chandler suggests is the key in the vertical pianos, rent country of origin - and there
tuning these two strings to a pitch which has a lamination of Cana- are those which come from differ-
determined by rapping on the dian maple between two layers of ent sources at different times. For
bridge to detect its resonant fre- spruce. Their publication “From instance, the Schumann name
quency. the Musical Bow to the Piano” includes studio size pianos made
(available through dealers) is a for them by Samick, and consoles
The substantial air of tradition beautiful and informative history and a very small grand made by
which is much a part of the appeal of the piano. Kimball. These are “designer mar-
of the piano was well represented ket” pianos, available in a variety
by the European imports. This was Another European import is the of cases with a not particularly
my first time to see the W. Hoff- Czechoslovakian-made Petrof. exciting piano inside. The Diet-
man line, manufactured in These are a bargain - the 50-inch man/Otto Bach company has
Langlau, W. Germany by Feurich vertical retails for around $3,200. subassembly in Texas, with compo-
and imported by Nedim Interna- Dave Postma, whom many of us nents coming from such diverse
tional, Patchogue, New York. On know as a technician, cautions locations as Germany, South
display were two grands with a that they do need some detailing Africa and Denmark. The Weber
particularly pleasing treble. Verti- upon arrival, but he is pleased name is now owned by Samsung,
cals are made in sizes ranging from with the performance of both the but the pianos are manufactured
44 to 49 inches; the pianos have grands and uprights. The verticals for them by Young Chang.
Renner hammers and actions. have agraffe terminations Schafer & Sons imports products
High quality work, including cabi- throughout the piano; they use from seven different factories.
net design and manufacture, is both Renner and Czech-made ham- Their much-promoted lifetime
emphasized. Their representative, mers, finding the latter produce a guarantee is contingent upon the
Peter Hooglander, reported a lot of mellower tone. Verticals are avail- piano being tuned every year by a
interest in the product. Prices of able in 50,45 and 41 inches; the technician either from or pre-
imports may change dramatically, largest had a particularly nice tone approved by the dealer. The tech-
but at this writing the verticals and action. Petrof uses cashmere nician is responsible for any
range from 4,600-8,000 wholesale in their action center bushing problems which develop between
and the grands from 14-21K. cloth....! tunings, however. Given the ten-
The Seiler company included a The Bechstein display featured dency of climates to shift and the
number of vertical pianos in their grand pianos, including an 1863 variety of sources that these pianos
display. They too make a range of seven foot which was used by Liszt. come from, this guarantee seems
large uprights - 45,46 l/2,48 and It is straight-strung, with a sub- less beneficial to the technician
50 l/2 inches. Actions are made to stantial, removable cape bar, and (and the customer) than it origi-
their design by Renner; they use cross members between the plate nally appears.
Renner hammers which they pre- struts. Restrung and containing If a generalization were to be
needle before installation. Ham- new Abel hammers, it has the made, it would be that the quality
mers which become too soft are sweet tone one would expect from of the Korean imports is improv-
returned (not just soaked in lac- such a period piece. The display ing, just as many of us suspected it
quer and used anyway...). Their included a 52-inch vertical, built in might. In particular, Samick and
technical representative, Peter the classic European style with full Young Chang both show signs of
Deutz, points out that the action in agraffes and an exposed pinblock: hard work, developing better prod-
the 50 l/B-inch model is a larger a high quality, pleasant and
action designed for that piano, not expensive ($25,000) piano.
just a raised compact action. The Similar in tone and price is the
channel steel reinforcement of the Boesendorfer 130 mm. vertical.
keybed/action support brackets is Clearly, these uprights are not
an interesting example of the con- aimed at those who cannot afford a
cern for detail in these pianos. grand. They fill a place for those
Once again, care in case work is whose space is limited, or who are Recovered With
evident. purchasing a second piano and
Schimmel introduced a new 52- want the quality that such names
inch vertical, developed in tandem offer.
withanew6’9”grand.Ithasa As explained in the January
tapered soundboard and a very
heavy solid-spruce back construc-
tion with extra blocks of wood at
report, Schiedmayer, Diapason,
Zimmermann and August Foerster
are all imported by Performance
the treble end to increase carrying Pianos of Houston. Ibach owns the Over 50 years of continuous service
power. The model shown had a names: the Schiedmayer and Dia- to dealers and tuners
good bass and pleasing treble, with pason are made by Kawai (to
the somewhat “hollow” quality in distinct specifications and designs WRITE FOR COMPLETE
the tenor which seems to accom- -they are not stencil Kawais). PRICE LIST
pany a smooth break. It uses the The pianos could be characterized 0. E. SHULER CO., Inc.
same full-size Renner- made action as solid and reliable.
which is in the 47-inch piano. An There are brands for which the PARAGON. INDIANA 46166
example of their attention to detail name gives little clue to the cur-
September 1988 Piano Technicians Journal/33
ucts and improving those already subdued. lavish evening of entertainment
on the market. The Pearl River company from featuring Marvin Hamlisch), a
Samick makes a 46 l/2-, 48- and Ghangzhou, China, was at this joint Boesendorfer/Kimball prod-
52-inch models; both the 46 l/2 show, although due to shipping dif- uct; same wippen as the
and 52 had a good bass with a ficulties they did not have the Boesendorfer but built by Herr-
pleasant “stringy” quality (as in display they intended. Emily burger Brooks; leather key bush-
cello) and responsive actions. Moerdomo, president of the import- ings, Renner hammers - a very
The Young Chang actions are ing company, reports continued nice piano with a rather Viennese
also good - it is as if we can see high interest in the product. price (wholesale around 35 K)....
the factory personnel developing What struck me in looking at all
the ability to understand a piano these pianos was the tremendous Interesting to see ....Kurzweil set
action, not just adjust it to specifi- difference - not just in tone and up at the end of the piano hall
cation. Pianos at the show have appearance, which was expected - (affectionately referred to by the
seemed less bright than I expect - but in the actions. With more expe- rest of the show as “the morgue”),
sometimes almost subdued -but rience working on grands, my clearly going after the home mar-
well balanced. They make 46,48 tendency has been to regard all ket: interesting but a little bizarre
and 52 in the “big upright” cate- vertical actions as essentially the to watch their demonstrations,
gory, I still prefer the 48 inch for same, and I was quite surprised by with an artist cooking away and
overall tone production. Expect the pronounced differences that the audience grooving - everybody
some developments in the grand even my primitive piano playing wearing headphones and not a
market from this company - we could detect. The more expensive hemidemisemiquaver let loose into
may even see something new in St. pianos are consistent within their the atmosphere....yet another
Louis. line -the moderate and inexpen- space-age piano, a clear lucite
Sojin has a new German- sive lines show a lot of variation Seiler MIDI grand, ... Pianodisc, a
designed scale in their 48- and 52- from piano to piano. This rein- retrofit “player” system which runs
inch verticals (they also make a 45 forces the wisdom we impart to off a floppy disc ...
inch and a 47 inch). They have a our customers: try out a particular Rumors abound that the summer
clean, bright treble but a notice- piano, and if you like it, be sure show is due to be discontinued in
able “thud” in the bass. All the you get that piano. It also demon- favor of one big blast in Anaheim
verticals use the same size ham- strated that good pianos are good each January (a good idea as far as
mer (which are Royal George felt), pianos, and that the good verticals, I’m concerned) ...Roscoe. the Stair
which may account for the subdued particularly the larger ones, have Climbing Piano Dolly, is still mov-
quality of the bigger models. In a lot to offer. ing the same piano up the same
general, the piarios are bright and AND, IN CONCLUSION...(a lit- stairs (I know just how he feels...).
somewhat abrupt in tone. tle “bullet press”) A big thanks to Ed Whitting and
Hyundai’s entry into the Ameri- What I would have looked at if I Young Chang for an impressive
can piano market began three had more time: Yamaha’s new C7 keyboard backdrop for the PTG
years ago, although they have grand, now 7’6” with a higher ten- booth, and thanks to the hardy
been making pianos for some time. sion scale, more soundboard area souls who “manned” the booth
They use Samick-made actions, and a “suspended” plate... the new (sorry, Christie)...
which felt smooth and quite stiff, g-foot Kimball concert grand And the summer ‘88 NAMM is
and the tone was, again, somewhat (introduced as part of an elegantly history. w

SI/September 1988 Piano Technicians Journal

(Clockwise from top photos) Most of
the piano exhibits were located in a
separate hall. Extra bass strings in
the Kawai US75. Capo bar of the
1873 seven-foot Bechstein used by
Liszt. Hard at work in the PTG booth
loaned to the Guild by Ed Whitting
of Young Chang. “Roscoe” kept
climbing. Full-agmffe, exposedpin-
block construction of the Be&stein
vertical. Keybedlaction bracket rein-
forcement in the Seiler verticals. An
example of casework typical of the


With . Comwrt
Low-Cost lae Silent Surfion llnil

September 1988 Piano Technicians Journal/35

Convention & Technical Institute
THE PIANO The Adam’s Mark Hotel
TECHNICIANS St. Louis, Missouri
July 18-22,1988 GATEWAY To
Cassette Tapes Are $7.00 Each

Alan Vincent, Del Frandlch WILL KNOW”
Webb PhIllIps
Alan Vincent, Del Frandich 0 PTG-516 “THE MAGIC TOUCH”
Arl Isaac
John Zelner
Dennis Burger Hal Vincent Ed Whlttlng

Dennis Burger Hal Vincent
Sally Jameson
Madelynn Manners, Jim Coleman, Sr q PTG-522 “PLEASE SPEAK UP - I CAN’T HEAR YOU”
Dr Barbara A Bohne Dr WIlllam W Clark
Charles P Huether
Isaac Sadigursky
0 PTG-511 “GRAND REGULATION - PART I” The Yamaha Team
Dale Lassiter. Jon Light. Roger Welsenstetner
0 PTG-512 “GRAND REGULATION - PART II” Richard Elrod
Dale Lasslter. Jon Light, Roger Welsenstelner
q PTG-513 “HAMMER FILING” Jim Hess
Dawd Barr
Cl PTG-514 “IVORY: THE GOOD, BAD AND UGLY” Peter Van Stratum
Gary Green
Webb PhIllIps and Steve Smith


0 6 Cassette Storage Album $5.00 0 12 Cassette Storage Album $6.00
Please Check Tapes Desired (Does Not Include Sales Tax Or Postage And Handling)

GUARANTEED POLICY: If for any reason you are not happy wth the tapes you have recwed from Meetings lnternatlonale please adwe. It IS our
policy to refund your money. replace a defective tape or allow you to select another tape from the llstmg Your satlsfactlon is guaranteed
Calendar Of Coming Events

Date Event

September lo,1988 2nd Annual Maine Chapter Lobster Bake

Pemaquid Point Lighthouse
Paul Rice; H.C. 3 I, Box 84; Bath, ME 04530; (207) 443-3372

Sept. 30-06.2, 1988 Florlda State Semlnar

The Jacksonville Hotel, Jacksonville, FL
John Pelick Jr.: 1567 Townsend Blvd; Jacksonville, FL 3221 l-4944: (904) 724-4795

October 7-9, 1988 Ohlo State Conference

Rodeway Inn, Columbus
Kim Fippin; 37 University St.; Westervrlle, OH 4308 1; (6 14) 890-2 197

October 14-16. 1988 Texas State Seminar

El Tropicana, San Antonio
Leonard Childs; 7867 Lark Ridge; San Antonro, TX 78250; (512) 647-3648

October 19.1988 Baltimore Annual One Day with Susan Graham

Omni Hotel, Baltimore
Chrrstie Cornetta; IO Draw Bridge Ct.; Baltrmore, MD 2 1228

October 20-23, 1988 New York State Semlnar

Oualrty inn North, Syracuse
Arthur Nick Smith; 730 Park Avenue; Syracuse, NY 13204; (315) 478-1669

October 28-30, 1988 Central East Reglonal Conference

Sheraton Inn, Normal, IL
Robert Morris: 1729 D Valley Road; Champarqn, IL 61820: 1217)356-9781

November 4-6, 1988 North Carollna State Semlnar

Comfort Inn
Sam Corbett; Rt. 3, Box 115; Grifton, NC 28530; (919) 524-5016

July 10-14, 1989 32nd Annual Plano Technlclans Guild Convention 8 lnstltute
Red Lion Lloyd Center, Portland, OR
Home Office; 9 140 Ward Parkway; Kansas Cxy, MO 64 114; (8 16) 444-3500

September 1988 Piano Technicians Journal/37

Dues Billing Near;
Deadlines Moved Up
Nolan P. Zeringue
Vice President

T he time to pay our dues is upon us again. Our lems with paying your dues on time, please call your
PTG dues come due January first of every year. RVP and let him or her know of your problem. The
Notices go out early in November so this gives us time RVP in your region has the authority for any special
to make arrangements to pay our dues before they handling which might be needed in your case. Once
become delinquent. For most of us it is only the cost of the drop date has passed, the Home Office has no
two or three extra tunings. authority to handle your dues payment, and you must
Paying on time helps to save money, your money. contact your RVP.
Your dues are the income which allows your organiza- Be aware of this year’s Council action which
tion to operate, and there is always additional cost to changes the dates for dropping members’ names from
send second and third notices in order to collect dues. the rolls of PTG for non-payment of dues. Members
Some years as we go into March there are as many as who have not paid their dues by January 31st will be
300 to 400 members who have not paid their dues. This considered delinquent and will receive no other Jour-
involves much extra expense in mailings and phone nals. The drop date will no longer be at at the end of
calls to see if the members wish to continue their April of each year.
membership. Our bylaws also contain provisions for members who
In many cases the members who have not paid their are unable to pay and also for our senior members. I’ll
dues have not contacted the Home Office or their write about those in another article.
Regional Vice President. If you are having some prob-

New Members During July 1988

REGION 1 Philadelphia, PA - 191 Northwest Florida, FL - 325 Mississippi-Gulf Coast -
Montreal, Qf? - 060 Gerald B . Carter Timothy P. Hollis
1733 Manton Street 4309 W. 19th Street A. Lynn Evans
Jean Real Goulet Philadelphia, PA 19146 Panama City, FL 32405 RT. 2, Box 14A
2584 Prefontaine Taylorsville, MS 39440
Longueuil, QC J4K 3Y5 Eric M. Fitzsimmons Sarasota-Ft. Myers, FL -
Canada 2732 Sugan Road, #l 335 REGION 3
New Hope, PA 18938
Toronto, ON - 062 Lynn L. Bethune Oklahoma, OK - 731
REGION 2 312 Rutgers
William J. Barclay Fort Myers, FL 33936 Stepen P. Storm
133 Sophia Street Hampton Roads, VA - 233 2304 North Pottenger
Peterborough, ON K9H lE2 Nashville, TN - 372 Shawnee, OK 74801
Canada Thomas J. Bulfer
520 West 22nd Street Michael G. Crow Houston, TX - 771
Connecticut, CT - 064 Norfolk, VA 23517 2749 Trenton Road
Clarksville TN 37040 Paul W. Underwood
Debra U. Mason Charlotte, NC - 282 1376 Woodcrest
473 North Main Street Memphis, TN - 381 Houston, TX 77222
Wallingford, CT 06492 Shaun Donaldson
5335 Parview Drive Michael D. Anderson REGION 4
New Jersey, NJ - 078 Matthews, NC 28105 PO Box 417
West Memphis, AR 72301 Lansing, MI - 489
David L. Van Derveer
Five Taft Place Waclaw J. Koneczny Shelley L. Vanderveen
East Brunswick, NJ 08816 510 Grahamwood Drive 2520 Tulane Drive
Memphis, TN 38122 Lansing, MI 48912

3WSeptember 1988 Piano Technicians Journal

Golden Gate, CA - 945
Waukegan, IL - 600
Ed F. Richards Carolyn R. Lowery
PO Box 541 1075 Palisade Street REGION 4 REGION 5
Cary, IL 60013 Hayward, CA 94542
Indianapolis, IN - 461 Nebraska, NE - 683
REGION 5 Portland, OR - 971
Robert S. Bussell Allen R. Hansen
St. Louis, MO - 631 Larry D. Fisher 224 West Banta Road 4315 Stoneridge Path
7409 N.E. 134th Ave. Indianapolis, IN 46217 Grand Island, NE 68801
H. Alan Irwin Vancouver, WA 98682
719 Catalpa Avenue Joseph A. Swenson
Webster Groves, MO 63119 Lori D. Russell 2738 Wyoming
7103 Kentucky Drive Omaha, NE 68112
Kansas City, MO - 641 Vancouver, WA 98664

Ling C. Chen Seattle, WA - 981

1808 Locust, #l
Pittsburg, KS 66762 William A. Mills 1988 1987
10024 SE. 204th Street Northeast Region 825 751
REGION 6 Kent, WA 98031 Northeast RTTs 547 552
Southeast Region 575 542
Utah Valley, UT - 846 Robert D. Samuelson Southeast R’ITs 384 386
110117th Avenue, #206 South Central Region 313 302
Jon E. Tolman Seattle, WA 98122 South Central R’IY’s 219 231
Box 68 Central East Region 609 600
Castle Dale, UT 84513 Puget Sound, WA - 985 Central East RTTs 414 419
Central West Region 406 408
San Diego, CA - 921 John E. Nafie Central West RTTs 303 302
PO Box 2306 Western Region 863 864
Don W. Faupel Bremerton, WA 98310 Western R‘IY’s 612 646
1617Madera Street Total Membership 3,642 3,520
Lemon Grove, CA 92045 Total R’ITs 2,479 2,536

Technicians i YES! II

Guild II I
I I wish to contribute $ .- in memory of- to honor- I
Your profession I I
needs your help... I Honoree’s name: I
Give something back to those who 1 I
made a difference in your career 1 Chapter/State: I
- a teacher, friend or mentor. I I
Your contribution to the Piano Acknowledge to:
Technicians Guild Foundation
ensures that their work will
I Address: I
continue.To contribute, complete I I
this form and mail to: Piano I Your Name: I
Technicians Guild Foundation, I I
9140 Ward Parkway, Kansas I Address: I

September 1988 Piano Technicians Journal/39

Thirty Years Growing
The It was in July 1958 that our

Auxiliarv first president of the Piano

Technicians Guild Auxiliary

took office. Ruth Pollard of
Houston, TX, and one of our
esteemed honorary life mem-
bers, took the helm of PTGA.
During the ensuing 30 years,
16 “First Ladies” saw to it that
the Auxiliary grew and flour-
From the President ished, developed new programs,
The Annual International three classes of instruction to worked at fund-raising activ-
Convention of the Piano Tech- assist the spouses’ knowledge ities to provide a bit of an assist
nicians Guild Auxiliary in St. and insight of piano technol- to the growing “infant” Guild,
Louis is now a memory! It was ogy. We all salute Ginger for and managed to make all the
a successful and well attended a job well done. finance-promotion deals
one and much thanks is due to The “glow” of the beautiful rewarding events. Many may
our former president, Ginger Installation Luncheon and the recall our sales of the Norman
Bryant. Those who were program of the music student Rockwell “Piano Tuner” print,
unable to attend our festivities from the St. Louis Conserva- the Cook Books, the Sun-
must rely on the reports their tory and Schools of the Arts Catchers, the Idea Books and
friends will bring back to will stay with us well into the our wonderful “Christmas in
them. There was excitement fall. Our former officers have
and fun for all from the exten- set standards and style that July,” to name a few.
sive motor tours about the the current Board will strive All of these former presidents
city, the Botanical Gardens, to achieve and continue in the can be proud of their achieve-
Jefferson Museum to the riv- tradition of the Auxiliary. ments. May the next 30 years
erboat luncheon on the Robert Agnes Huether be successful and fun-filled.
E. Lee. In addition there were Agnes Huether, Editor

Aaron Topfer, left and Derison

Duarte were all smiles after perform-
ing for the Auxiliary Tea Tuesday
afternoon. The two St. Louis piano
students received Auxiliary scholar-
ships awarded through the Missouri
Music Teachers Association.

40Beptember 1988 Piano Technicians Journal

Above, AuxiLLary program partici-
pants study their handwriting during
Sue Mathias’ presentation Thursday
morning. Mathias, a master graph-
oanalyst, was only one ofseveralguest
speakers in an activity-filled week. At
right, new Auxiliary board members
posed for a photograph after the
installation Luncheon. They are, from
left, Barbara Fandrich, treasurer;
Judy White, corresponding secretary;
GingerBryant, immediatepastpresi-
dent; Agnes Huether, president; and
Arlene Paetow, vice president. Not
shown is Bert Sierota, recording

National Executive Board
AGNES HUETHER (Mrs. Charlesj JUDY WHITE (Mrs. Charles)
President Corresponding Secretary
34 Jacklin Court RR 1, Box 134
Clifton, NJ 07012 Alma Center, WI 54611
Vice President Treasurer
RFD 1, Box 473 1809 Covey Rd.
High Falls, NY 12440 Jones boro. AR 7240 I
Exchange Editor: BERT SIEROTA (Mrs. Walter) GINGER BRYANT (Mrs. James)
Agnes Huether Recording Secretary Immediate Past President
34 Jacklin Court 3803 Arendell Avenue 1012 Dunbarton Circle
Clifton, NJ 07012 Philadelphia, PA 19114 Sacramento, CA 95825

September 1988 Piano Technrcrans Journal/41

Index Of Display Advertisers
Baldwin Piano And Organ Co. IF Pacific Piano Supply 30
C. Bechstein 25 Pro Piano 35
Dampp-ChaserElectronics 19 Quality Bass 26
Decals Unlimited 44 Perkins School of Piano Technology 3
FazerPianos/CoastWholesale 23 Randy Potter School Of Piano Technology 3
Fleisher Piano Cabinetry 19 Samick Music Corp. 9
Florida StateSeminar 44 Schaff Piano Supply 1
C. A. GeersCo. 35 Schroeder’sClassic Carriage 25
Grayson County College 25 ShenandoahCollege & Conservatory 26
Inventronics, Inc. 29 0. E. Shuler 33
A. IsaacPianos 37 Superior Instruction Tapes 44
Jaymart/PianoLocators IntemationaI 3,44 Syntrom 29
Kawai America Corp. IB Tuners Supply Co. 3
Kimball Piano And Organ SalesDiv. 13 Vestal Press 35
Lee Music 35 Wurlitzer Piano And Organ Co. BC
Lunsford-Alden Co. 37 YamahaMusic Corp. 7
North Bennet Street School 23 Young Chang America 4,5


Advertising home study course in Piano, tuning,
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- a
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tion are not necessarily an phone, case, warranty, one lb. ($155 .50-$50.00; .OSO-$60.00; .075 with
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products listed. 47 West Street, Bar Harbor, Maine, sharps refinished-$17.50. Keys
04609. (2071288-5653. rebushed, felt-$60.00, leather-$95.00.
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to Piano Technicians Journal, Repairs, calibration & modifications, 1841 Kit Carson, Dyersburg, Tenn
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August ‘88 Journal. Available for key pin Steinway specialty. Jaymart Whole- cially designed facilities include
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& .163”. BiII Spurlock, 3574 Cantclow PIANO STORES”, P.O. Box 21148, equipment. In state tuition is $270.00
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4WSeptember 1988 Piano Technlclans Jourr 1al
HOME STUDY COURSES: Elec- contains jewler’s rouge, no ammonia, Stripping, buffing and NICKEL plat-
tronic Organ Servicing: Newly cleans, polishes, protects. Mentioned at ing, with hinges up to 60” lengths
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- digital, analogue, LCI’s, synthesiz- ance rail pins, bottom of studs. Price of parts included. Enclose packing list
ers, etc. Piano Technology: Tuning, break in case lots. Case equals twenty indicating number of screws with
regulating, repairing. Our 87th year! 3.9 oz. tubes. Also in 39.0 oz. cans. Write description and quantity of items. REF-
Free booklet: Write or call NILES for prices and order from VANCE ERENCES AVAILABLE. COD delivery
BRYANT SCHOOL, Dept. G, Box PIANO SERVICE, 1881 W. Marion in 2-3 weeks. A.R.O.M. throughout the
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“LET’S TUNE UP” $20.00 per copy. days, (617) 469-9143 eves.
Last few hardbacks will soon be gone.
COMPONENT DOWNBEARING No immediate plans for another print-
GAUGE OWNERS - convert your style ing. Paperbacks still available at $17.50.
1 gauge to a style 2 gauge with this easy Make checks payable to John W. NEW SOUNDBOARDS MADE
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September 1988 Piano Technicians Journal/43

New, never used. $495.00. John Nar- members are eligibleto buy humidifiers TECHNOLOGY. Position to be filled
dine, 508 Jessup Road, Henderson, from Bemis Manufacturing Company, by October 17, 1988. Please send resume
NV 89014. (702)361-4347. Sheboygan Falls, Wisconsin 53085. to : Robert R. Fink, Dean, College of
Identify yourself as a PTG member and Music, Campus Box 301, University
send check with order. Wholesale prices of Colorado at Boulder, Boulder, CO
A 1989 CALENDAR DESIGNED for PTG are the same this season as last 80309-0301. Deadline for receipt of all
FOR GUILD MEMBERS. Makes an season. If you misplaced the price list, materials: September 8,1988. The Uni-
excellent Christmas Gift. Write for or to get reasons for using general versity of Colorado is an affirmative
details. Clayton Harmon, P.O. Box humidifiers, write or telephone Daniel Action/Equal Opportunity Employer.
8012, Asheville, NC 28814. Tele- L. Dyer, 8 Locust Lane, Bronxville,
phone (704)252-5481. NY 10708, (918)337-3283. STEINWAYS needed-unrestored-condi-
tion unimportant. All models. Call
collect (516)588-6446, Dante Piano
going out of business. “A Guide To Rebuilding and Repair, 3632 Fernway
Restringing” for sale by the book or by Drive, Montgomery, AL 36111.20 Up To $1000.00 Finder’s Fee will be
the dozen. Paperbacks each $16.50 years’ experience with Steinway - paid for successful purchase of a Mason
postpaid, hardbacks each $21.50 post- London. Specializing in replacement of and Hamlin Ex-Player. I have mecha-
paid. Order now. No COD. Make check action rails. Also available GENUINE nism to install. Pls call collect (317)
or money order payable to: JOHN W. IVORY KEY TOPS replaced. Call or 259-4307 or evenings (317) 849-1469.
TRAVIS, 8012 Carroll Ave., Takoma write for free estimates. (205) 284-0197. Jim Brady 4609 Cranbrook Dr.,
Park, MD 20912. Indpls., IN 46250.


PINBLOCKS-BRIDGES, BASS TRE- Authorized Distributor. The most
BLE. We can duplicate the old large accurate and advanced tuning aid PIANOS! - PIANOS!
complex pinblock with attached wide available. Tuning lever note switch for
stretcher. Send in old part for custom Accu-Tuner $25. Consignment sale of PIANOS!
replacement. EDWIN C. TREFZ, 202 used Accu-Tuners and Sight-O-Tuners Buying and selling all types of usable
E. SOUTH AVENUE, NORWOOD, for new Accu-Tuner customers. Call for pianos. We give genuine wholesale
PA 19674. (215)532-7768. details. Rick Baldassin, 2684 W. 220 discounts on volume. Immediate
North, Provo, UT 84601, (801) 374- removal. Cash paid. Also selling all
2887. kinds of vintage grands
- Steinway specialty.
ORIGINAL H/S WONDERWAND “A Jay-Mart Wholesale - “The Piano
Store For Piano Stores”
ad July 1988 Journal p. 31. Box 21148, Cleveland, OH 44121
PIANO any size or condition. Call:
DON’T LEAVE HOME without your Doug or Tim at @04)358-1929.
bottle of Pearson’s Super Glue ($3.25) or
your tungsten carbide sanding file JOB OPENING FOR FULL-TIME
TUNER. $25,000 a yr., taxes withheld, COLEMAN-DEFEBAUGH
($7.00). Rapidly becoming an essential
1 week paid vacation, van provided, sec- Video Cassettes
part of every technician’s bag-of-tricks 0 Aural & Visual Tuning $79.50
(Postage extra). Steve Pearson Piano retarial work provided.’ If interested, Pitch raising, fempemment setting, beat
Service, 831 Bennett Ave., Long call: Kramer’s Piano Shop, located counting, Sanderson Accu-Tuner, etc.
0 Grand Action Rebuilding $79.50
Beach, CA 90804. (2131433-7873. near Fredick, MD. (301)775-7393 or Hammers, shanks &flanges, wippens. key
(301)898-3245. bushing, backchecks, etc.
0 Upright Regulation $95.00
Tmubl&hooling, r&lting, etc.
0 Beginning Piano Tuning
STECK DUO-ART BRAND. For info WANTED!! DEAD OR ALIVE “Stein- 0 Grand Action Regulation IZX
call JACK BAIRD, R’IT way Uprights” Call collect, Ben Knauer 0 Voicing gS”:gE.
0 Explorrng the Accu-Tuner .
(818)845-2785. (818)343-7744.
VII.9 or Beta (213) 735-4595
Superior Instruction Tapes
2152 W. Washington Bl.
Los Angeles, CA 90018


Sept. 30 thru Oct. 2,1988
Girls - Don’t let your man come to this event without you! While your man
Fast and Easy
Dry Transfer Letters
is absorbing all kinds of knowledge from nationally famous instructors, you Over 300 Fallboard
can be enjoying yourself in the over 100 specialty shops and restaurants and Soundboard Decals
in our new Jacksonville Landing. You’ll also love the exciting 1.2-mile Custom Service for Obscure Names
river-walk on the beautiful St. Johns River. DECALS UNLIMITED, INC.
Registration, Fees and Information - Contact Treas. Vernon B. Calcote, 9333 96th S&No. l Mahtomedi, Minn. 55115
4836 Alpha Ave., Jacksonville, FL 32205. Telephone (904) 388-6343 WRlTE FOR BROCHURE
Alternate Contact Barney J. Johns, 3546 Oleander St., Jax, FL 32205

CQ/September 1988 Piano Technicians Journal


Foroversixtyyears,Kawaihasmaintainedan uncompromising commitment

to excellence.
andthe mostadvancedpianotechnologyareblendedto
createthe numberonesellinggrandpianoin the world.
Moresymphoniesl operacompanies,universitiesandmusiceducatorsproudlychoose
Kawaigrandpianos.Discoverforyourselfwhy Kawaiis the choiceof thosewho know.

The Master Builder

Kawai America Corporation,2055E. UniversityDr.. PO. Box 9045,Compton,CA90224.9045.(213)63-1771
“Wurlitzer really stands
behind their products?
Rick Sletten-piano technician,
performing musician.

As an independent piano technician, Rick

Sletten works on a lot of different brands.
He prefers to service ours.. . because
Wurlitzer keeps the technic
when establishing service
programs and policies.
“Wurlitzer has gone the
whole nine yards. I never
have any problems.. .
with technical informa-
tion or parts. If you’re
working in a customer’s
home, you can call
Wurlitzer toll free and
get technical help. With
a lot of pianos, you’re on
your own.”
But Rick Sletten likes more than our
service. He likes our pianos as well. “I’ve
been to the factory. You can see the precision
work. You can see the quality.”
By building pianos with consistently high quality
and by providing service hot lines, we make a
piano technician’s life a little easier.

DeKalb, Illinois 60115