Volume 55, Issue 03 - Piano Technicians Guild

Journal
P I A N O T E C H N I C I A N S
OFFICIAL PUBLICATION OF THE PIANO TECHNICIANS GUILD

March 2012 Vol. 55 No. 3
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March 2012 / Piano Technicians Journal 1

Editor ial Per spective
BOARD OF DIRECTORS
President
Piano Tone and Science –
Jim Coleman Jr., RPT
537 Carter School Rd, Strawberry Plains TN 37871
602-989-0005
Together at Last
pres@ptg.org
By John Granholm, RPT
Vice President Journal Associate Editor
Chris Solliday, RPT
1710 Washington Blvd, Easton PA 18042
610-438-1051 In this month’s Journal you will find the third installment of a remarkable
vp@ptg.org Q&A Roundtable discussion about piano tone. The material in that conversation
Secretary-Treasurer was distilled from a much longer debate that took place on PTG’s Web discussion
Norman R. Cantrell, RPT group for college and university technicians. It became clear to me as I prepared the
2111 NW Dearborn, Lawton OK 73507
580-355-5003 series for publication that the question of who defines and determines “ideal” piano
sec@ptg.org tone excites a great deal of passion and opinion in our professional community.
Immediate Past President Should those tone determiners be manufacturers? Innovative designer/rebuilders?
Allan L. Gilreath, RPT Concert technicians? Professional musicians? Or perhaps musically knowledgeable
PO Box 1133, Calhoun GA 30703 audience members, listening from the auditorium?
706-602-7667
ipp@ptg.org Accompanying that discussion in this issue is an article by Dr. Alexander
Galembo, summarizing current research on psychological factors related to the
Northeast Regional Vice President
Paul Adams, RPT perception of piano tone. Much of Galembo’s work has been interdisciplinary,
972 Rt 521, Newton NJ 07860 combining the relatively subjective and emotional realm of music with scientific
800-280-6778 investigations in acoustics, human perception, and engineering. Some of his findings
nervp@ptg.org
may surprise you: Perception of a piano’s tone as being “good” or “bad,” for
Southeast Regional Vice President instance, is highly dependent on room acoustics, listeners’ position in the room, and
Phil Bondi, RPT
24600 South Tamiami Trail, Unit 212-204
even on listeners’ visual observation of physical gestures made by the pianist as the
Bonita Springs FL 34134 instrument is being played. Galembo also concludes that a piano’s action design and
239-949-3688 components are at least as important to the quality of its tone as its belly design.
servp@ptg.org Research suggests that brand prejudice abounds. Galembo found a strong bias
South Central Regional Vice President toward a Hamburg Steinway over two other pianos when conservatory pianists
Steve Walthall, RPT knew what brands they were listening to, but in a blind listening test they were
5617 Ranch Road 222, Austin TX 78731
512-680-3366 unable to reliably pick out the Steinway based on its sound alone. NPR recently
scrvp@ptg.org reported similar results from a double-blind study with violins. Listeners could not
Central East Regional Vice President discriminate a Stradivarius from lesser violins when they heard the instruments
Richard Bittner, RPT played, and they also couldn’t distinguish the sound of an old violin from that of a
519 Melody Ct, Royal Oak MI 48073 new one.
248-398-3876
cervp@ptg.org Blending science and music can be a daunting task, especially with acoustic
instruments, because they cannot be standardized or pigeonholed. Part of the
Central West Regional Vice President
Trevor T. Nelson, RPT fascination of pianos for me is that the tone of each is unique, dependent on the
4717 Spine Rd Unit #E, Boulder CO 80301 qualities of the natural materials that go into it—wood, buckskin, wool. And then,
303-641-8863 factor in human players and listeners, each with individual experience and musical
cwrvp@ptg.org
taste. Glenn Gould, for example, had what many of us would consider strange
Western Regional Vice President preferences in regulation, wanting his piano’s touch to resemble a harpsichord’s—
Larry Messerly, RPT
PO Box 10923, Prescott AZ 86304
probably, we now suspect, because he learned to play on his mother’s poorly
928-445-3888 regulated old Chickering.
wrvp@ptg.org There will never be an “ideal” piano that produces “ideal” tone. As piano
Pacific Northwest Regional Vice President technicians, we can only approach each instrument with the goal of making it as
Paul Brown, RPT good as it can be.
RPO Denman Place Postal PO Box 47046 We must continue to pay close attention to the physical and behavioral sciences
Vanvouver BC V6G 3E1 Canada
604-324-7013 as they apply to our work. There is a deep need in our craft to replace speculation,
pnwrvp@ptg.org myth and folklore with objective fact. The work of researchers like Alexander
Galembo helps move us along on that path.
2 Piano Technicians Journal / March 2012
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Columns &
PIANO TECHNICIANS
Vol. 55 No. 3
Barbara Cassaday
March 2012
Comments
Publisher/Executive Director
Ed Sutton, RPT
Editor 2 Editorial
John Granholm, RPT
Associate Editor
Perspective
John Parham, RPT Piano Tone and Science –
Assistant Editor Together at Last
Jason Wheeler
Art and Design Manager By John Granholm, RPT
Journal Associate Editor
Shawn Bruce
Marketing Manager
Ben McKlveen, RPT

Audio Recorder for the Visually Impaired 6 Executive Outlook
PTG Home Office
Phone: 913-432-9975 FAX: 913-432-9986
By Larry Messerly, RPT
E-Mail: ptg@ptg.org Web Site: www.ptg.org PTG Western Regional Vice President
Editorial
Piano Technicians Journal will accept unsolicited materials,
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advisable, therefore, to submit copies of original materials,
7 Letters to the Editor
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Send materials and letters to: Ed Sutton
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Advertising
For advertising rates and policies call Shawn Bruce at 14 Perception and Control
Departments of Piano Tone

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8 TT&T
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Technicians
use as “hot links” or meta tags in Web pages or Web sites, By Alan Eder, RPT
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Technicians Journal are the property of parties other than PTG, 10 Q&A
and are used in the Piano Technicians Journal with permis-
sion and/or to fairly identify the parties’ products or services.
© 2012 The Piano Technicians Guild, Inc. Articles published
Roundtable
in the Piano Technicians Journal represent only the opinions
of the author and not those of the Piano Technicians Guild, Compiled by Associate
Inc. PTG provides this information as a benefit and service in Editor John Granholm, RPT
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No part of this publication may be copied or reproduced in
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Patent and Trademark Office — unauthorized use is strictly
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the official publication of The Piano Technicians Guild, Inc.,
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KS and at additional mailing offices, US ISSN 0031 9562
foreign and domestic.
POSTMASTER: Please send address changes to:
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Contents
In Addition
features
March 2012
32 Coming Events
33 PTG Review
Articles and information dedicated to the news,
interests and organizational activities of the
Piano Technicians Guild. This section highlights
information that is especially important to PTG
members. This month: New Members, PTG’s New
RPTs, and Passages.
34 Auxiliary Exchange
35 Foundation Focus
36 Classified Advertisements
39 Display Advertising Index
Cover Art
Cover by Jason Wheeler.
rol 27 Grand Piano Una 31 Road to Cavalese

Corda Tone Regulation By David Love, RPT
By Nevin Essex, RPT Please submit tuning and technical articles,
Tuner’s Life/Tuner’s Health stories and queries to:
Ed Sutton, Editor
40 Tuner’s Life 4001 Brookview Dr, Charlotte NC 28205
28 Small Shop – Beyond the Road and Into the E-mail: editor@ptg.org
Big Results Woods Please submit suggestions for Q&A to:

John Granholm, Associate Editor
Grand Action Reconstruction: By Craig Turner 1244 SE Germond Ave, Roseburg OR 97470
E-mail: Q&A@ptg.org
Part 4 – Installation of Risers
By Chuck Behm Please submit tips for TT&T to:
John Parham, Assistant Editor
1322 36th Ave NE, Hickory NC 28601
E-mail: TTT@ptg.org

Exec utive Out look
Grow!
I appreciate all the non-tuning Associate members, such as movers, rebuilders, store owners
and the like, in the Piano Technicians Guild. They bring a wealth of experience and expertise to
our organization. We really do care for their participation.
Attempts have been made in the past to create and offer additional certifications for those
working in some of these areas. Although many of these efforts have been valiant and have
involved many hours of work, they have proven too difficult to implement. It has been decided
by Council that “this is the organization of the Registered Piano Technician,” thus focusing our
efforts and promotion to that end.
Larry Messerly, RPT For tuning Associates, I want to encourage you all to grow and develop yourselves into
PTG Western Regional RPTs to enable you to receive maximum benefits from your membership.
Vice President Some of our most capable members and instructors are not RPTs, and for a variety of
reasons related to their positions they choose to remain that way. For all other tuning Associates,
I encourage you to make maximum use of the resources available. Attend your chapter meetings.
If it is too far to go, do what some chapters do and meet via video Skype. Attend seminars,
conferences and the annual institute. Keep learning and growing. There are also resources
available at www.ptg.org and my.ptg.org to aid in your development, including the Exam Prep
community.
For myself, I have become an RPT twice! (That’s what I got for resigning for two years.)
Both times it took multiple attempts to pass the exams.Yes, it cost money to retake exams, but
for me it was the best indicator of where I stood and what I needed to focus on to improve. And
if you take the exams soon you will not have to demonstrate how to voice carbon nano-fiber-
covered hammers!
Next month’s Executive Outlook will be from Phil Bondi, RPT, PTG Southeastern Regional
Vice President.

Letters to the Editor
In Kansas City at the opening ceremony of the Convention and Technical
Institute, Susan Graham and I became the 2011 recipients of the PTG Hall of Fame
Award. This award is a tremendous honor made even better by sharing it with Susan.
This year I’m serving on the Awards Committee, and I’m amazed at how many PTG
chapters and people are involved in the process.
I’m writing to thank PTG for this honor. My association with PTG on a chapter
and national level has shaped and enriched my life. I have learned so much from you
and count many of you as dear friends. I’m guessing Susan would say the same thing.
Thank you for adding me to the PTG Hall of Fame. I truly have received more
than I have given.
Laura Olsen, RPT
Chicago IL Chapter
rob@pacificpiano.com
iRCT
www.reyburn.com

T
T T Tips Tools &Techniques
Compiled by John Parham, RPT, Journal Assistant Editor
Too Simple Stop Gauge This plastic friction catch on a Kimball fallboard holds it in
the upright position (Photo 2). After years in service, it’s not
unusual for the part to break. I found this same piece at a
local mobile home supply outlet for less than the price of a
cup of coffee. You can also find them at www.slide-co.com
for under $10 by searching for part number 22496.
Isaac Sadigursky, RPT

Los Angeles CA Chapter
LED Work Light
Photo 1: A felt punching stops the drop.
When using my blow distance gauge, I would occasionally

drop it into the action. Everyone has had to pull a grand ac-
tion to fish out a lost gauge. I finally placed a felt punching
over the gauge (Photo 1). Now when it slips out of my hands,
it doesn’t fall into the action. I just pick it up and start over
again without having to pull the action. It works so well it’s
almost too simple.
Photo 3: One of many ways to use this flexible light.
Ben Gac, RPT Creating adequate lighting in a shop can be challenging.
Chicago IL Chapter These LED reading lamps are an easy and inexpensive way
to localize light right where you need it (Photo 3). They
come with a heavy base and can be attached to all sorts of
Kimball Fallboard shop fixtures. The flexible neck is easy to adjust, and it stays
in position without sagging. Go to www.ikea.com/us/en/
catalog/products/20169658/ to find a store nearest you.They
sell for about $10. At that price I bought a number of them
and am constantly finding ways they help my 58-year-old
eyes to see just dandy.
Jim Ialeggio
Boston MA Chapter
Pull It Out for Letoff

When setting letoff in the bass and low tenor of a grand
piano, the dampers block the view of the hammers as they
get close to the strings (Photo 4). I found a useful suggestion
in Steinway & Sons’ Worldwide Technical Reference Guide (see
page 7 in the chapter on grand regulation) that overcomes
this inconvenience. By sliding the action out just a little, the
Photo 2: Friction catch on a Kimball fallboard. dampers are now out of the way and you can see the ham-

Photo 4: Dampers block the view of hammers at letoff.
Photo 6: Use a curtain rod to measure a lyre brace.
sliding joint to mark the correct length.This is your template

for cutting your new lyre brace.
This tool does double duty when you break a string.
Remove the rubber end caps and you have an extendable
tube for feeding a new string into an upright without
fouling up dampers and having the string go all over the
place.
I learned this technique a while back from Gary Ford,
RPT.
Christopher Storch, RPT

Boston MA Chapter
Photo 5: Pull out the action for a clearer view.
For a video demonstration of this technique, go to

mer at letoff more easily (Photo 5). This small movement of
www.ptg.org and click on the PTJ Videos icon at the lower
the keyframe does not compromise the letoff regulation and
left corner of the home page.
makes setting letoff much easier.
Eric Schandall, RPT

NewYork City Chapter
Curtain Rod for Lyres and Strings

When fabricating a replacement lyre brace, you need to first
VIDEOS
accurately measure how long it needs to be. Using a small,
Please submit tips for TT&T to: John Parham,
extendable curtain rod that is used to hang small valences
above windows (Photo 6), insert one end into the lyre box 1322 36th Ave NE, Hickory NC 28601
and extend the other end in the lyre brace block under the e-mail:VIDEOS
TTT@ptg.org
keybed. Put blue tape on the smaller of the two rods at the

VIDEOS
A Q & A Roundtable
Compiled by John Granholm, RPT, Journal Associate Editor
The Quest for Ideal Piano Tone: Part 3

Doug Wood, RPT of the piano’s sound the artist wants to have made “even.” I
I suggest that piano technicians are not responsible for tone find it helpful to listen closely and watch the pianist at the
color.That’s between the player and the piano, the musician’s same time. Picking out what he/she is finding “even” or “not
responsibility. My task is to make the player’s job easier. It is even” in the piano’s sound is often not the same thing I’d had
not my responsibility to “make the tone.” I’m maximizing in mind when I was there voicing by myself. The illusion of
access to the tone. If I do that, then the player can find what evenness is different with different touches.
he/she wants. The comment “I need more here” usually refers to the
first capo section, but is often technically resolved in the tenor.
Fred Sturm, RPT The tenor comes up faster with playing and with increased
I heartily endorse this attitude. We do influence the overall power input, resulting in a perceived imbalance.The pianist’s
tone quality of the piano, but our aim should not be so much sensation is that the fifth octave is too weak. Needle the tenor
to create a tone as to create a palette.The palette needs to have down, and voilá, the fifth octave is so much better—sometimes,
both pastels and brilliant, garish colors, and a fully controllable at least.
spectrum in between. The pianist uses the palette to explore At most force levels, I try to have power greatest at #1
any number of tonal possibilities, and the opportunity is there and #88, and lowest near the tenor break. It’s relatively easy
to use the more brilliant “colors” as accents, or to create mix- to bring out a melody in the tenor, even if it’s played softly.
tures in all proportions. When considering power or strength of tone at average
The most important thing to emphasize in discussing playing level, consideration of the venue is most important. In
voicing is that every single hammer must have an even voicing a small setting or with a very strong player, power should be
gradient.The mix of partials must rise in every one, obviously set fairly low. For the concert stage, particularly a large one,
with a smaller range at the very top.That is a far better concept power should be almost unbearably high—the piano fairly
to use than the aim of evening everything out at x, y and z pops, even at mf. However, the shape of the voicing curve I
levels of power.Yes, it needs to be even, but you have to create mentioned above remains more or less the same. If the tenor
the foundation of the rising gradient.This means, in practical readily overpowers the melody section (first capo section),
terms, that you look at the hammer set as your friend (don’t the piano is harder to handle.
attack it), and assume, as is likely, that it starts out in an even Blastissimo playing (thanks to Horace Greeley for the
state. Hence, you will primarily perform precisely the same term) would produce a nearly straight line of strength of
operation 88 times, graduated by size of the hammer. tone graphed against note number, distorting the sound at
However, the element of hammer-string contact is king maximum power across the scale. Pianissimo playing brings
when it comes to consistency of voice over a range of force. the whole line down—how quiet can you get it, using careful
That part of the foundation is critical. needling, without reducing the brass band available at the high
end? That’s the trick. The curve remains in place, however.
Wood The middle of the piano is always somehow “softer” than the
Tone clarity and focus, at least as I experience them, are very ends. The high treble rarely does anything but sparkle in the
sensitive to hammer shape. Narrower hammer-to-string con- music. Of course, it is nice if the amount can change a bit
tact area is better, but limited by the structure of the hammer. with volume, but it must sparkle nonetheless.
Too pointed a top leaves “cut layers” to fall apart rather quickly
during playing.Too broad a top produces muddy tone rather Sturm
quickly. Hammer travel, burn-in and fitting make a huge Clarity and focus are what I value the most, bottom to top. I
difference. I’ve had more than a few occasions where a piano can live with a lot of warts if I have clarity. The pianist needs
that was basically well prepared has sounded unsatisfactory some “ring” available everywhere, with a bit more effort,
because these factors were not attended to adequately. even in the tenor and bass.Yes, you tone it down to balance,
I look at evenness of tone as a controllable illusion, but don’t go too far and eliminate it.You can’t overstate the
generated by the technician. Part of the joy of working directly contribution of refined hammer traveling, squaring and mating
with an artist in final voicing is determining which element (all three together) in getting that kind of consistent focus at

We can make things louder or softer.We David Love, RPT
I disagree.While a piano may inherently lean in the direction
can change the attack and decay envelope of a certain voice, we technicians are responsible for tone color,
or at least fully developing the breadth of the palette. One
can certainly influence more than soft and loud and balance.
within limits, but we cannot change the Much of this has to do with hammer consistency, whether
hard or soft, lacquered or not, heavy or light. But it also has to
color of the tone of the instrument.The do with how the hammer is voiced, especially on the surface
and just below. One thing is certain—a very soft hammer
pianist does that. will not deliver the same range of tone color as a firmer
hammer that has a velvety texture on the surface, graduating
in some fashion to much denser below the surface, with
special attention to what happens just under the strike point.
a full range of dynamic levels. I think it has to do with the Access to those areas as controlled by the pianist will give a
hammer-string contact period, making it happen consistently much greater range than can be achieved with a strictly soft
rather than chaotically, as it will with wobbly hammers and hammer.When the hammer is firm beneath the surface, then
out-of-phase strings, producing unpredictable tone and no on a firm blow, hammer-string contact is kept to a minimum
smooth curve corresponding to force. and upper partials remain undamped. On a high-tension
Experience shows clearly that traveling, squaring and scale that produces relatively stronger upper partials (as on
mating yields an enormous improvement in focus of tone a Steinway D), it is especially important that there isn’t too
and predictability of voice. When you play a series of notes much damping of the upper partials or you will leave behind
at pp, at mp, at f, etc., and some stand out at one volume level, a valuable part of the spectrum. If you have a design that calls
others at another, I believe it usually has something to do for a soft hammer (or if you put a soft hammer on a design
with this factor.When you continually insert needles to even that doesn’t call for one) then the firmer blow will have a
things out in this situation, often the results become worse greater tendency to damp the upper partials as the hammer
rather than better. collapses some.The piano gets louder with firmer blows, but
it doesn’t get brighter, and you can’t get that cutting attack.
Horace Greeley That doesn’t mean that the piano lacks color—it may mean
You’re welcome, Doug, for blastissimo. that the interaction between the chosen hammer and the
Effective hammer-to-string contact really is what sets up rest of the piano is limiting its potential. If the design is such
everything else we do with voicing. If determined properly that only a soft hammer produces an acceptable sound when
from the get-go, it can save a great deal of trouble later on, played at normal levels, then the question is whether that’s
because carefully establishing Doug’s top line at the outset an appropriate design formula given what the performance
means that you can work your way down in the dynamic requirements of the piano are likely to be. If that’s the case,
range, all the way to “virtually inaudible” without messing up then for the voicer who wishes to develop the full color palette
what you’ve done in between. This is, again as Doug notes, normally associated with that instrument, it can prove to be
particularly important voicing the middle to lower tenor and especially troublesome, and for the pianist the net effect can
across the break to the upper portions of the bass. Because be that the piano feels limited.
of the way most composers have written for so long, the left In summary:
hand tends to have much more repetition or noodling going • Tone color is to some degree dependent on quality of
on, which can easily mask anything being played farther up hammer voicing.
the scale. In addition, all of these problems are made more • The specific interaction between scale, soundboard and
complex by the fact that many pianists do not have very good hammer on any piano will determine the potential in
left-hand technique, and often wind up blurring scales or its tone palette.
Alberti bass lines with the damper pedal. • The hammer is the only thing that we can change at
Doug mentions something else here that is very important: this point, and it may or may not be of the right con-
“We are not responsible for the color.”Absolutely correct.We sistency given our specific goals for tone.
can make things louder or softer. We can change the attack • If we can change tone by voicing or by selecting a
and decay envelope within limits, but we cannot change the different hammer, we can salvage things and create a
color of the tone of the instrument. The pianist does that. better design match.

• Belly and scale design will often dictate the hammer expenditures had to be justified, approved from above, and
consistency needed to achieve the palette we’re after. ordered on a per-instrument basis for several years.
I do not mean to say that redesign and rebuilding along
Greeley lines differing from original should not be encouraged,
Setting aside for the moment all other considerations, it simply supported and developed—not at all. Of course it should;
isn’t always possible, let alone reasonable, to swap out hammers otherwise, piano design and construction will remain firmly
on a given instrument. While I’ve done so many times, more rotting in the 19th century. However, if the only answer is
to rethink and redesign every problem piano, then the vast
often than not the only option is to work with what is there.
majority of people who engage in institutional work stand
In accepting institutional work, we take on a fiduciary
to lose out on the kind of help and support they need to
responsibility to leave the inventory in better shape than we
increase their own skills while providing improved support
found it insofar as we can. From the standpoint of institutional
for the inventory for which they are responsible.
management (which is very different from that of the artist/
Most places simply do not have the budgets to
technician), that means that the perceived monetary value of
contemplate very much in the way of minor repairs, let alone
the inventory does not decrease any more than is absolutely
major reconstruction.Technicians often have to simply make
necessary. Obviously, there is a potential conflict of interest
do with whatever crumbs are left over from a table that is
between these two positions, especially when performing
increasingly poorly supplied. It doesn’t matter that this is right
redesign and rebuilding of concert-level instruments. For
or wrong. It is what it is, and the point then becomes how
example, I know of one situation at a major university in
we can all be of the most help to one another.
which replacement of original factory hammers with “after-
market” parts cost the incumbent technician his job. More
importantly (due to the impact on the instructional program Q&A Roundtable discussions are edited for length and clarity. This
of the school), the piano shop was taken away, and parts topic appeared originally on PTG’s CAUT Web forum. n
PIANO
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Acoustic
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Fall 2011 Issue

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Perception and Control of Piano Tone
Part 3 – Psychological Factors
By Alexander Galembo, Ph.D.

St. Petersburg, Russia
Abstract To generalize the problem, I will against the excitation frequency.
In Part 1 of this study (see the August quote Floyd Toole, who worked on Two plots represent data obtained
2006 issue of the Journal) we addressed similar psychological problems with at slightly different microphone posi-
the question of whether the pianist can listening tests conducted for the tions (about 1 meter apart). It is ob-
control timbre independently of loudness R&D of loudspeakers and audio- vious that the same tone generated
on single tones. In Part 2 (Journal, De- equipment: “It is wrong to assume by the loudspeaker has an unrecog-
cember 2006) the perception of sequences that the basis for judgment in a lis- nizably different amplitude spectrum
of tones played legato and staccato was tening test is the quality of the sound depending on the position of the mi-
discussed. Part 3 is devoted to psychologi- alone. There are many opportunities crophone.
cal factors affecting touch and tone assess- for subtle yet persuasive psycho-
ment and responsible for the difference in logical factors to complicate what
tone perception by a performer and a dis- otherwise appears to be a simple
tant listener. situation. In fact, in some circum-
stances there is reason to believe
that these are the only significant
In efforts to reach perfection, factors shaping listeners’ opinion.”1
makers of musical instruments are In other words, the subject in a
always guided by professional musi- listening test is exposed to a num-
cians.The musicians are no doubt the ber of hidden but significant psy-
most qualified experts in musical in- chological factors influencing the
strument quality. Scientists and engi- interaction with the instrument, so
neers usually consider musicians’ re- the subject’s judgments could be
sponses obtained in listening tests as significantly biased.
a reliable subjective basis for further Some of the most prominent
objective analysis of the instrument factors are discussed below.
quality by measurements. Relating
the pianist’s subjective judgments to Room Factor
objective data, a piano engineer or Many scientists believed and
scientist defines objective criteria of still believe that listeners recog- Figure 1:Two loudspeaker-to-microphone transmission
curves for a room differing in microphone position (from
the instrument’s quality that help to nize, judge, and evaluate a musical Benade, 1985).
understand and improve the instru- tone primarily by perception of its
ment. amplitude spectrum. Arthur Benade So, significant fluctuations in
However, careful analysis of ac- disproved this belief in the following sound perception exist from fre-
cumulated experience and of scien- experiment. quency to frequency and from loca-
tific publications from related fields A point loudspeaker was located tion to location of the listener within
(like electro-acoustical devices qual- in one place and a microphone in the same room, even if the musical
ity assessment reports) make it clear another place in the same room. A instrument is situated in the same
that the musician is often put into a sweeping sinusoidal signal of constant position and has the same acoustical
research situation in which (s)he is amplitude was fed to the loudspeaker output. Following the initial direct
not really able to estimate the tone and received by the microphone. A sound, which is probably the only
of the instrument isolated from ac- graph (Figure 1) showed the ampli- source of non-distorted (minimally
companying stimuli of other origin. tude of the signal at the microphone distorted, to be more precise) audible

information about the instrument of the trichord unison was allowed to the acoustical conditions of the
tone quality available to the listener, to sound, and the fundamental tone room, correcting forces applied to
the sequence of reflected signals from only was pass-filtered for analysis. keys, strings etc. to create the desired
the walls, floor, and ceiling arrives The tone starts at about t = 2 sec- sound.5
and progressively alters the signal onds and is terminated by a damper
perceived. at about t = 17 seconds. The prompt
Since a current waveform is de- sound, about 4 seconds long, decays
fined by the current amplitude (and at the rate of about 8 dB/second, the
phase) spectrum, the demonstration aftersound at less than one-quarter
by Benade shows that the waveform of this rate. The bottom graph rep-
alone is not quite a reliable objective resents the same tone but recorded
criterion for judging timbre either. at a different microphone position.
“If we accept the traditional dogma The distinct difference between the
that the tone colors of sounds are graphs lies in different level of the
primarily determined by their spec- dip between the prompt sound and
tra, we have apparently proved that aftersound caused by different mi-
recognizing the sound of anything in crophone (or listener’s) position.3
a room is an essentially hopeless task,”
concluded Benade.2
The tone might sound signifi-
cantly louder or softer, shorter or
longer depending on the acousti-
cal characteristics of a room and on
the listener’s position in a room. The
same instrument sounds “soft” when
played in a large “lively” room, “ring- Figure 3: Room reverberation effect on the playing man-
ner of a pianist (compiled from Meyer, 1977).T is the
ing” in a small empty room, and standard reverberation time, i.e. the time for decaying
“short” in an anechoic chamber. sound to drop 60 dB below its initial level.
The decay of a radiated piano The example in Figure 3 pres-
sound is also significantly modified ents the amplitude of the soundboard
by room conditions before it reaches vibration in the same piano during
the listener’s ear, particularly by the the same 1-minute piece played by
reverberation in the room. During the same pianist in three rooms with
one period of time, our piano factory different reverberation characteris-
received many complaints from cus- Figure 2: Typical decay of a piano E3 tone, showing tics. The measured intensity of the
tomers: Our upright pianos sounded dividing the decay process of the fundamental tone soundboard vibrations in this case re-
into two parts: an initial “prompt sound” followed by
too bright, “glassy.” The cause for this a sustaining “aftersound.” The difference in the decay flects the pianist’s touch forces. It was
was finally found to be an elevated curves between the top and bottom graphs is caused suggested that if the room reverbera-
solely by changing the microphone position (from
level of noise in the voicing cabin at Weinreich, 1990). tion is too long, it makes sound flow
the factory. louder, and the musician, adapting to
Figure 2 illustrates how the dou- Prof. Jürgen Meyer4, when re- the circumstances, applies a weaker
ble-decay characteristic property of porting the results of estimation of than usual touch to the keys. Due to
a piano tone (known to be a tim- the piano tone quality over record- that, the musician feels uncomfort-
brally important objective determi- ings, remarked that if the recordings able when performing gradations
nant of the attack-sustain portion of were made in acoustically non-iden- of forte. If the room reverberation is
the tone) is modified by a change of tical rooms, the error level was high shorter than the optimum, the pianist
microphone position. The top graph enough to change the experts’ pref- tries to compensate for this disadvan-
shows sound pressure level versus erences. tage with a stronger touch, thus feel-
time for the E3 tone. (Pitch frequen- When playing a musical instru- ing uncomfortable when playing at
cy is about 311 Hz.) Only one string ment, the musician intuitively adapts soft dynamical levels.

If the musician was not familiar belongs with—it is weak in pianos association with other sense modali-
with the particular instrument and and strong in bowed and wind in- ties. For example, musical tone might
room beforehand, it is very difficult struments. The performer’s influence be described as clean or dirty, thick
for him (her) to properly associate becomes much stronger when music or thin, gentle or violent, fine or
this change to the room conditions, excerpts are played instead of indi- coarse, rounded or angular, colorful
and (s)he may attribute it to instru- vidual tones. Even for pianos, expert or colorless, lively or dead, calm or
ment quality. listeners seem to recognize familiar restless, open or closed, etc.
Therefore, not only the tone col- pianists from recordings better than The first difficulty in connecting
or, but also the mechanical response familiar instruments. musical with acoustical descriptions
of the instrument may be perceived A natural and common way to is that musical and verbal attributes
as different in different room condi- avoid the effect of a performer’s con- are not clearly defined, leaving much
tions. tribution is to use a mechanical play- space for individual fantasy and
ing device. However, going this way imagination. When, say, two musi-
Musical Experience we loose the information about the cians say that tone A “is more com-
Education, playing and listen- adjustment process of the musician to pact and less tense” than tone B, it
ing experience of a musician can the instrument—the ease of this ad- is hard to believe that they mean by
develop a set of prejudices and icons justment is one of the components of this the same discrimination between
that cause a subconscious preference instrument quality. Another way is to the tones that an acoustician would
for an instrument from a renowned avoid musical excerpts as stimuli and measure.
maker, old or historical instruments6,7, only use individual tones, chords and Inevitable discrepancies between
instruments similar to the musician’s scales. This will, however, make the music and acoustics fields cause mu-
own instrument, etc. For example, evaluation a quasi-technical rather sicians and acousticians to use the
the sound of a Stradivarius violin than an aesthetic exercise. same words, but with different mean-
will likely be rated higher than other ings. “Resonance” for an acoustician
violins, once the listeners have been Verbalization and Terminology means the increase of amplitude,
informed about the makers’ names. When trying to establish a cor- when a body is excited with the
In such listening tests a “different” relation between a subjective assess- same frequency as that of its normal
tone quality compared to the estab- ment and acoustical characteristics of vibration mode. A musician might
lished ultimate maker is equivalent to a tone, one deals inevitably with both rather use “resonance” to refer to the
“poorer,” almost by definition. musical and physical descriptions of addition of any acoustical after-ring
A similar situation exists among sound. Terminological discrepancy combined with an augmentation of
pianos, with Steinway & Sons as between them might present a strong the loudness of a musical tone—the
the most common “standard of hindrance for the task. phenomenon that a physicist will re-
excellence.”The most popular meth- Physical vocabulary for sound fer to as a reverberation.8
od for an “unbiased” evaluation of and musical instrument descrip- Discrepancies between the “mu-
the tone quality is to let a player tion consists of words having precise sical” and “physical” meaning might
perform on the instrument behind meanings adopted by all the profes- be revealed also in other terms, in-
an acoustically transparent, visually sional community and defined by cluding the word “timbre,” which a
opaque curtain. It is necessary to un- national and international standards. physicist defines as a characteristic of
derstand that the acoustic transpar- Physical terminology is basic also for an individual tone, while among mu-
ency of such curtains is not absolute. engineering practice and documen- sicians it is common to apply it to a
Further, and much more important, tation. register, to a whole instrument, to a
in such presentations the listener es- Music historically created its characteristic of performance, or to a
timates not the instrument alone, but own terms to describe a tone qual- musical piece.
the instrument as a part of a com- ity of a musical instrument. They are Although some “musical” char-
plex including the playing musician. based mostly on rather free verbaliza- acteristics of a tone (like brightness)
If we restrict the stimuli to individual tion of subjective features of sound. are more or less understood by ac-
tones, the performer’s contribution The terms are usually borrowed ousticians, there is no universal rule
to the tone played will vary depend- from common life; particularly many describing how to translate “musi-
ing on which family the instrument words are taken from perceptual cal” verbal attributes of musical tone

quality into specific acoustical char- range, and playing comfort. The ex- tioned on stage so that the keyboards
acteristics. perts were asked to fill out forms, formed a triangle. A rotating chair
To avoid discrepancies in termi- using free verbalizations of their im- was placed in the center of the tri-
nology, we did not use verbal scales pressions, and then to rate the three angle.
in our investigations. We designed pianos by their tone, mechanical, and The expert was blindfolded by
our listening tests as dichotomous overall qualities. The last question soft eye covers and seated on the ro-
questions for the subjects, seeking on the form was whether the expert tating chair. The experimenter rotat-
only one of two answers, typically thought that (s)he would be able to ed the chair and stopped it in a po-
“Yes” or “No.” discriminate the instruments by their sition facing one of the pianos. The
tone quality only, if presented with task of the subject was to play the
Separate Assessment of Tone and tones, chords, or scales played on the piano and to identify which of the
Playing Comfort pianos. three pianos he was playing. A kin-
A musician is often asked to as- The results of this free estima- esthetic test followed in which the
sess separately an instrument’s tone tion were absolutely as expected. blindfolded expert was also “deaf-
and its mechanical response (playing The tone of the Steinway piano was ened” by headphones fed by white
comfort). Thus it might help engi- judged the best in all reg- noise.
neers to address the quality problem isters, followed by the
as a proper design issue of the instru- Bechstein, and last was
ment. For a piano, for example, if the the Leningrad-made
mechanical response is wrong, cor- piano. No clearly ex-
rection of the key action is usually pressed comments were
required, while the hammer, strings given about the differ-
and soundboard are independently ences in playing com-
responsible for the tone quality. fort. All experts found
Here is a short description of the differences in tone
investigations regarding grand piano so distinct that they
tone quality that were conducted by felt ready to discrimi-
the Leningrad piano factory in the late nate the instruments
1970s.9 At that time we had received by listening to played
much criticism from musicians be- Figure 4: Identification of pianos by quality. Stimuli for listeners: (1) Chord
tones, chords and scales. C Major in octave 4, (2) Chord C Major in octave 2, (3) Sequence c-e-g in
cause of bad tone quality of concert octave 4, (4) Musical fragment of the subject’s choice. Stimuli for performers:
grand pianos made by our factory. To Step 2: Listening test. (5) Blindfold test (playing with hearing but not seeing), (6) Kinesthetic
test (playing without hearing and seeing).The white horizontal dashed line
resolve some doubts about the reli- Listening tests where indicates the chance level at 33.3%.
ability of the musicians’ judgments, single tones, scales and
the factory organized a complicat- chords played on the three pianos The result of the blindfold and
ed and rather expensive three-step from behind an acoustically trans- kinesthetic tests were striking—al-
evaluation experiment, with twelve parent curtain were conducted. The most all answers were correct. (See
professional pianists, pedagogues listeners’ tasks were (1) to identify Figure 4, cases 5 and 6.) Even the
at the Leningrad Conservatory of which of the three pianos was played, subjects themselves were surprised
Music, as expert players/listeners. and (2) to order the stimuli with re- by the results. For the experiment-
spect to sound quality. ers, engineers and acousticians, the
Step 1: Free estimation. Three In this test, the result was, in results of the three tests indicated that
concert grand pianos—Leningrad- short, that the musicians were not the quality difference between the
made, Hamburg Steinway, and able to determine properly which pi- three pianos, which was attributed by
Bechstein—were placed on the stage ano was played, and their preferences the experts under free conditions to
of the concert hall in the conserva- in ordering stimuli did not corre- the tone quality, was caused primar-
tory. The experts were asked to play spond to those expressed in step 1 of ily by the mechanical response, thus
whatever music they wanted and to the experiment (Figure 4, cases 1-4). re-focusing industrial R&D from the
compare the three pianos in three tone generation components (ham-
pitch ranges (bass, middle, and treble) Step 3: Blindfold and kinesthetic mers, strings, and soundboard) to the
with respect to tone quality, dynamic tests. The three pianos were posi- key action.

both kinesthetic and auditory sen- modern TV production, when the
sory channels. listener’s perception of music is dis-
There are good reasons to assume rupted by extensive switching of
that the pianist’s opinions about touch camera angles, zooming, panning,
(the production) and tone quality and moving around, and by other
(the perception) are intertwined. Our video tricks breaking the listener’s
experiments suggest in particular concentration on music and real per-
that pianists subconsciously include formance. Presumably the same phe-
kinesthetic feedback when they eval- nomenon is responsible for the inter-
uate timbre, and vice versa. The per- action between visual and auditory
formers’ judgments of tone quality impressions when the sound from a
were strongly influenced (“infected,” musical instrument is perceived by
figuratively speaking) by the impres- the listener simultaneously with the
Figure 5: Kinesthetic test. Experimenter:A. Galembo
sion of the mechanical response due vision of the performer’s gesture.
(left), Pianist: Mark Zolotarjov (right). Leningrad to auditory-kinesthetic interaction. Particularly, Shimosako and Oghushi
State Conservatory of Music, 1980. reported a significant interaction be-
The results of these tests are Visual-auditory Interaction tween auditory and visual process-
explainable if the interaction be- McGurk and MacDonald10 ing in evaluations of expression in a
tween the performer and instru- showed that erroneous visual cues piano performance.11
ment is analyzed from a psycho- significantly distort auditory percep-
logical point of view. (See Figure 6.) tion in humans. In their experiments Discussion
the vision of wrong lip movement Let us recall that the performer-
Multimodal Perception of Touch caused wrong perception of audible instrument interaction is not only a
and Tone speech. The spatial location of the physical, but also a psychological pro-
Traditionally, perception has sound source might be drastically cess, and then reformulate the ques-
commonly been considered a modu- changed by visual information—this tion:Why do some pianists think that
lar function, with the sensory mo- is known as the “ventriloquist effect.” the timbre of their individual tones
dalities operating independently of is touch-sensitive? A plau-
each other. This concept was pre- Cross-modal sible hypothesis here is that
interference
sented also in most (if not all) musi- the performer’s judgment of
cal-acoustical publications exploring the tone is affected by some
tone quality of musical instruments. Visual touch-sensitive information,
Presently, crossmodal interaction Auditory which is not available to the
in perception is at the cutting edge of listener.
modern psychology. Some manifes- Kinesthetic First, the pianist hears
tations of crossmodal interaction are more details than the lis-
Kinesthetic
well known—e.g. the enhancement A tener, just because of being
u
of speech intelligibility by lip reading d closest to the sound source.
i
or substitution of vision by hearing t Particularly, attack noises in
o
in blind persons. r the key action, that certainly
Vi y
The main sensory channels in- su
al
are touch-dependent, will
volved in music performance and Room be audible to the performer.
conditions
perception are auditory, visual (both Second, since the pianist
performer and listener), and kines- Cross-modal controls tone generation via
interference the key, (s)he has much more
thetic (performer only). (See Figure
6.) exact expectations and thus
LISTENER
For the pianist, tone is the audi- better awareness of many
tory feedback of his own activity.The Figure 6.Tone perception by performer and listener.
small details of the complex
pianist controls the piano via his/her event named tone.
kinesthetic system (arms, hands, and Auditory-visual crossmodal in- Particularly, for the pianist, tone
fingers) and receives feedback via teraction is roughly explored by starts physically when the finger
contacts the key (mentally even ear- listen selectively to the flute line in matic movements of the arms and wrists
lier) and includes all possible audible context of the full orchestral sound. of the performer are simply a form of cho-
touch-dependent attack elements, as It also would not be surprising to reography which has no practical effect on
well as the mechanical feedback from find (no such study has been done the mechanism of the instrument.
the action via the key. The listener’s that we know of) that a single piano I have described as mere choreography
perception of tone is restricted by tone could be perceived by a listener the gestures that pianists employ in play-
auditory components only. (We omit as more percussive if it visually fol- ing, but the choreography has a double
for a while visual information, which lows a fast up-down movement of practical function.There is the visual effect
we’ll return to later.) The time inter- the pianist’s hand, than after a gentle on the audience, which tells the audience
val between the finger-key contact legato-like movement of a finger. what the performer is feeling when the
and hammer-string contact (25-80 Body movements of the per- actual sound may be inadequate for that
milliseconds approximately and con- former were found to convey signifi- purpose. I do not wish to defend the more
trolled by touch) is part of the per- cant information about the expres- extravagant gestures, but I have found
ceived tone for the performer, while sive profile of the performance. For that even the most emphatic final cadence
listeners may at best have only a a non-musical audience—without will sometimes not convince an audience
vague idea about what is going on much experience in playing musi- that the music is finished without some
under the pianist’s finger. cal instruments and listening to mu- kind of visual indication. Without it, the
Further, as shown above, pianists sic—visual information alone might applause all performers hope for will be
subconsciously include kinesthetic be the main source of perception late in coming and more tentative than
information when evaluating timbre. and understanding of the expres- one would like.
This makes not only the tone itself, sive details of the performance.12 The choreography has a purpose
but also the pianist’s judgment of the Schumann, impressed by Liszt’s pia- for the performer as well, like singing or
tone, touch-dependent. no playing, wrote: “Within a few sec- grunting when performing, and becomes a
onds tenderness, boldness, exquisite- way of conducting the music or a kind of
Role of Gesture ness, wildness succeed one another; self-encouragement.15
Visual perception contributes the instrument grows and flashes in Liszt occasionally wrote vibrato
significantly to a general impression the master’s hand… he must be heard on his piano pieces. “Apparently he
of a piano’s tone. This brings us to and seen, for [if] Liszt played behind believed, as have others, that rock-
a discussion of the influence of the a screen, a great deal of poetry would ing the finger on the key, as a violin-
performer’s gestures on the perform- be lost.”13 ist rocks his finger on a string, will
er himself and on the listener. The pianist’s gestures sometimes produce such an effect. Since, after
For the performer, gestures are are said to control a single tone, e.g. the string is struck, the only connec-
a part of an internal emotional life, to “grow out of the same aim: the tion between key and either string or
reflecting and influencing his/her control of acceleration. For certain soundboard is via the massive frame,
perceptual processing of the music kinds of excitement, in soft places it would be difficult to explain such
played and containing both intended as well as loud, one may deliberately an effect. It is more likely that the
and unconscious actions directed to seek a percussive tone and therefore performer’s ear would be affected.
sound production. work to increase rather than decrease Perhaps Liszt was sufficiently acute
For the listeners, the performer’s the amount of acceleration.”14 psychologically to realize that the
gestures prepare them for the music Charles Rosen is more sarcastic sight of a rocking finger would con-
and allow the audience to track and towards considering the pianist’s ges- vince some listeners that they were
to some extent follow the emotional tures an important physical part of hearing a vibrato.”16
state and expectations of the musician; tone control: Claudio Arrau, renowned
gestures convey information about In spite of the beliefs of generations throughout the world as one of the
the musician’s intentions, including of piano teachers, there is no way of push- supreme keyboard masters of the
touch strategy. Consistency between ing down a key more gracefully that will 20th century (also a pupil of Liszt’s
what is being played and how it is make the slightest difference in the result- pupil Martin Krause), used to simu-
being played directs the audience’s ing sound. Inside the piano, the elaborate late a vibrato with his hand on long
sensitivity to selected elements of the arrangements of joints and springs will expressive notes—“It was a psy-
musical pattern. A listener can visu- only make the hammer hit the string with chological aid to interpretation and
ally track a flutist’s gestures to better greater or lesser force. The graceful or dra- perhaps even convinced members of
the audience that the note has extra room. 3. “The coupled motion of piano strings” by Gabriel
Weinreich. In A. Askenfelt (Ed.), Five Lectures on
resonance.”17 6. Visual information about the the Acoustics of the Piano. Stockholm: Royal Swedish
At least one “vibrato-like” ef- performer’s gestures modifies and Academy of Music, 1990.
fect of the interaction between the may even distort tone perception by 4.
“Die Problematik der Qualit tsbestimmung
visual and auditory modalities (but a listener. bei Musikinstrumenten” by Jurgen Meyer.
in the opposite direction) has been 7. The terminology describing Instrumentenbau-Zeischrift, Heft 2, ss. 3-8, 1977.
documented. Dr. Ladan Shams re- touch and tone used in listening tests
ported that auditory information can by musicians and engineers has to be 5. “Determinants of the tonal quality of musical
instruments” by P. Simpson. In the book: Proc. of
change visual perception qualitative- understandable. It is recommended Acoustics’84 Spring Conf., Swansea, 9-12 (1984) Apr.
ly, by demonstrating a visual illusion to formulate dichotomous questions 1984.
induced by sound: when a single flash to the subject, seeking simple an- 6. “Influence of the age of bowed instruments on
was accompanied by multiple audi- swers, e.g. “Yes” and “No.” musician’s judgment (in Russian)” by T. Podgorny,
tory beeps, the single flash was incor- Music performers, creating their Music Culture, issue 3, 1924.
rectly perceived as multiple flashes.18 music in an environment that is large- 7. Musical Instruments: Methods of Research and Calculation
(in Russian) by A.V. Rimski-Korsakov & N. Diakonov,
ly imaginative, tend to overestimate
Moscow: Rosgizmestprom Press, 1952.
Conclusions their power over the details of the
8. “Musical acoustics vocabulary” by Leo Beranek.
1. Touch and tone perception is sound produced—but pianists, prob- Sound, Vol. 1 no. 4, 1962.
multimodal: The auditory, kinesthet- ably, more than others. “The pianist
9. “Development of the Methods for Evaluation
ic, and visual sensory systems interact, produces the greatest fortissimo with of a Pitch Strength in Musical (Piano) Sounds (in
intertwine, and mix together. Pianists an exertion that makes him or her Russian)” by A. Galembo, doctoral dissertation, Sankt
inevitably include kinesthetic feed- feel as if merged with the instrument, Petersburg Institute of Cinema and Television, Feb.
1995.
back when they evaluate timbre, thus participating directly in the creation
making not the tone itself, but rather of the volume of sound like a string 10.“Hearing lips and seeing voices” by H. McGurk & J.W.
MacDonald. Nature, 264, pp. 746-748, 1976.
the judgment of the tone touch-de- or wind player. The size of the piano,
pendent. however, so much greater than violin 11.“Interaction between auditory and visual processing
in impressional evaluation of a piano performance”
2. The strong interaction be- or flute, induces the belief that one is by H. Shimosako & K. Oghushi, Journal of Acoustical
tween auditory and kinesthetic im- dominating the sound from within, Society of America, Vol. 100, no. 4, pt. 2, p. 2779, 1996.
pressions explains also why pianists like a singer, as if mastering it were to 12.“What does the visual information contained in music
are not able to separate reliably the become part of it.”19 performances offer the observer? Some preliminary
mechanical and auditory informa- Here is a proper place to quote thoughts” by J. W. Davidson, In R. Steinberg (Ed.) The
Music Machine: Psychophysiology and Psychopathology of the
tion in their responses. one extreme declaration regarding Sense of Music. Springer Verlag, pp. 105-113, 1995.
3. A performer has an educat- touch dependence of a piano tone:
13.On Music and Musicians, by Robert Schumann.
ed preference or an icon of what is “The pianist herself is an integral University of California Press, 1983.
a good instrument (i.e. what is the part of the sound-producing instru- 14.“Playing the piano,” letter to editor, by K. Wolf, NY
best dynamic correspondence be- ment. The pianist is in physical con- Review of Books, Dec. 16, 1999, p. 100.
tween the touch and the tone), and tact with the piano and is caused to 15.“On playing the piano” by Charles Rosen. NY Review
the quality of any instrument might reverberate with the other (more tra- of Books, Oct. 21, 1999, p. 52.
be evaluated by the degree of the ditional) parts of the instrument.”20 16.“Three essays on the fundamentals of piano-playing”
intermodal conflict between the au- This sounds like nonsense to by R. Wormleighton (no date, but fresh and popular
ditory and kinesthetic sensory chan- physicists, but it may benefit the music. site!) “Piano-hands: Web Sites” at http://piano-hands.
net/index.htm.
nels.
4. The subjective impression ob- Thanks to Robert Hohf for help with the 17.See ref. 15, p. 54.
tained from an instrument strongly English translation of this article. A.G. n 18.“A visual illusion induced by sound” by L. Shams,
Report to the Second Annual Multisensory Research
depends on the acoustical conditions
Conference, October 6-7, 2000, Tarrytown, New
in a room. References York.
5. Objective parameters of the 1. “Listening tests - turning opinion into fact,” by Floyd 19.See ref. 15, p. 52.
E. Toole. Journal of Audio Engineering Society, Vol. 30 no.
tone and mechanical response of the 6, pp. 431-445, 1982.
20.Matthew Dovey, 22 Dec 1997, in e-mail discussion list
piano—amplitude spectrum, wave- 2. “From Instrument to ear in a room: Direct or Piano-L@uamont.edu.
form and transients—also depend via recording” by Arthur Benade. Journal of Audio
on the acoustical conditions in the Engineering Society, Vol. 33 no. 4, pp. 218-233, 1985.

The Harmonious
Technician
5 5 t h A n n u a l P i a n o Te c h n i c i a n s G u i l d
C o n v e n t i o n & Te c h n i c a l I n s t i t u t e
S E AT T L E
JULY 11-15
Registration Fees
Member $449/ Non-member $599
Weekend pass - Friday through Sunday
Member $339/ Non-member $489
Registration opens 2/1/2012.
Prices go up after 6/15/2012.
Register early and save.
Registration, exhibitor, hotel information available at http://convention.ptg.org

WO
RL
D
OF ’S L
PIA ARG
NO ES
TEC T G
HN ATH
Featured Instructors... ICI ERI
AN NG
S
Eric Schandall & Tone Røimål

Grand Action Regulation and More
If you’ve never had an opportunity to attend an Eric
Schandall class, you’re in for a treat. With twenty-five years
as an university technician, seven years as the Administrator/
Instructor of Technical Training and Education at Steinway
& Sons, and his most recent work in Norway, Eric brings
an incredible wealth of knowledge and experience to his
presentation. You’ll be amazed at how much more there is
to learn about grand pianos!
New Topics, Themes and Imaginings

Joined by his equally skilled wife Tone, Eric will be
focusing on grand piano voicing. You’ll also dive into
action regulation from the pianist’s perspective. Tone
and Eric will also be presenting an overview of European
technical education and training.
Steve Brady - Under The Lid

Well-known concert technician Steve Brady will be
presenting an all-day class based on his book of the
same title. At first blush, a technician who doesn’t do
concert piano work might wonder what he may gain
from such an all-day investment in time. Well, you just
never know what phone call you might receive next, do
you? Some smaller communities do not perceive the
value of real concert prep for their pianos until it’s too late
and much neglected work needs to be done. Wouldn’t
you want to feel ready to take that job? Wouldn’t that
enhance your reputation?
And, don’t miss Steve’s other classes...
The Full-Service Approach to

Piano Maintenance
Tuning Techniques for Stability and Speed

Making Recorded Tributes of Senior
Piano Technicians
By Alan Eder, RPT
Los Angeles CA Chapter
A few months back, Rick Baldassin, of the art. Regardless of the storage me- Always use a fresh battery for the lava-
RPT, Richard Davenport, RPT, and I dium, if there is more than one camera, liere unit—it sure is a bummer when the
journeyed to the home of Norman Ne- be sure to stagger the changing of media battery runs out of juice while you are
blett, RPT, to shoot a video interview so as not to miss covering anything that still trying to record! One caution about
of his reflections and remembrances of is said with at least one camera. If it is a lavalieres is that if the subject is scratching
his life and career. (See an edited version one-camera shoot, it may be necessary an itch, and that itch is anywhere near the
of this at youtube.com/user/PTGHo- to ask the subject to pause momentarily lavaliere mic, it could ruin portions of the
meOffice.) We got a lot right that day while media is being switched out.Try to recording. Use an external room mic (or,
(Would you expect any less from such anticipate the need to stop for this, rather if that is not available, the onboard mic of
a distinguished crew?) and there were than letting the media run all the way out. the camcorder) for a second or third cam-
a few things that, shall we say, did not One can ask people to repeat something corder. If using an external mic, monitor
go quite as well as they could have. We if the media ran out before they com- the audio with headphones and place the
learned from both our successes and our pleted their response, but in my opinion, mic as close to the subject as possible, and
woulda-gone-better-ifs. things are just never quite as good when pointed towards him/her. (The same goes
Even more recently, RPTs in an- repeated as they were when originally and for a camcorder that is recording through
other part of the country contacted us to spontaneously uttered. its on-board mic.)If the microphone of-
consult about a similar shoot they were For best resolution, use the highest fers a choice of coverage patterns, select
about to do. In sharing our experience fidelity setting that your camcorder al- the most narrow one. The further away
with them, it occurred to us that others lows. Of course, one also needs more than a microphone is from the subject, the
might also benefit from this debrief- enough tape/memory. Having gone to all more ambient sound the mic will pick
ing. Also, we sincerely hope that some of the trouble of setting up this session, up.This means that in the editing process,
folks who have not yet decided to go it would be a pity to have its usefulness if you boost the signal from that mic, the
ahead and make a recorded tribute of a diminished by such an avoidable limita- “noise floor” of the “room sound” will
senior technician they wish to so honor tion as insufficient storage media. increase along with the subject’s voice,
will be encouraged to do so, and do it The power source for camcorders effectively canceling out any benefit from
as well—and as promptly—as possible. should be AC, as opposed to batteries, the increased level in terms of being able
which have a nasty habit of dying before to better make out the voice.
you are done, and at the most inoppor-
tune moments (even if you have other Techniques
batteries to change to). The subject may be most comfort-
able at his own residence. That way, he is
Equipment: Audio Recording in a familiar environment, perhaps settled
If available, use lavaliere (clip-on, into a favorite chair. If the video is being
wireless) microphones, routed through a made at his home, be recording while
mixer (to balance and equalize the sound approaching the front door to get the ini-
of different people’s mics) and then into tial greeting (which we wound up using
one of the cameras (and monitored with as the opening of our edited version of
Screen shots from the Norm Neblett tribute video. headphones plugged into the camera). Norm’s video). If the subject is traveling
to another location, it might be a good
Equipment: Video Recording idea to video his arrival.
Assuming that you are shooting We were pleased with the result
video (as opposed to audio only), use a we got from having the subject sitting
tripod. It is best to use more than one canted roughly 45 degrees from the
camera. Digital tape (such as mini-DV camera and the interviewer(s) (in other
or Digital 8) is better than analog. HD words, not facing either the camera or
quality picture stored in on-board hard the interviewer(s) straight-on). We had
drive or flash storage is the current state our interviewers sitting within “touching

distance” from the subject, their chairs well-prepared with an exhaustive list of While having a list of questions is
also canted at 45 degrees, only in the op- questions, plenty of forethought and the valuable as a point of departure, it is
posite direction (much like the common ability to think on their feet. equally important for the interviewer to
setup on a TV talk show). If there is only one camera, it is able to “roll with the punches,” following
Also, consider the background before probably best to keep it fixed on the the subject on tangents (although, even-
getting started. If shooting in the subject’s subject the entire time. In a shoot with tually returning to the original question)
domicile and tidying up of the area vis- only one camera, if the videographer and allowing the subject to talk about
ible in the shot is needed—and you feel makes moves such as panning (moving whatever it is that he is inspired to talk
that it can be done without the subject sideways) and/or zooming (moving in about at that moment. Conducting the
taking offense—then go ahead and ask if and out) to include the interviewer(s) in interview at the optimal time of day is
it would be okay. Another advantage of the shot, one runs the risk of not having important. When that is depends on the
recording at the subject’s home is that he a well-framed shot of the subject for the subject. Most people have a daily routine
doesn’t have to travel anywhere, which entirety of his response. If there are two in terms when they rise and when they
conserves valuable prime time and energy. cameras, the second one could either “do their best work.” If, for example, the
Place the subject somewhere that has be on the interviewer(s) only, or a fixed subject is an early riser who usually naps
good lighting. If there is one side of the “long shot” (including the subject and in the afternoon, then mid-morning
subject’s face that is, shall we say, “more interviewer(s)). If it has its own operator,would likely be the best time for an
presentable” than the other, then that is it could pan and zoom accordingly. The interview.
the side to feature. We are doing this to final edited product will be much more With Norman, we did not know
honor him, so it is appropriate to make interesting to watch if it is has more goingwhat to expect in terms of endurance.To
every effort in order to help him “put his on visually than just the one same solo our surprise and delight, he actually went
best foot forward.” shot of the subject. for three continuous hours (which I don’t
Frame the shot appropriately. Most know if I could have done myself, despite
people (and Norm is a good example of Other Considerations the fact that I tend to be much more
this) use their hands when they speak, so An interviewer can contribute enor- chatty than he, and 34 years younger). It
the framed shot should extend from above mously to the quality of the session(s), was a good thing that none of us needed
the subject’s head to his lap (and allow for both in asking good questions at the to eat or use the facilities in that time,
some movement of the torso and head). right times, and by being an attentive as it would have interrupted the flow.
Having two people who have worked listener and receptive audience for what So take care of your “personal business”
closely with the subject conduct the in- the subject has to say. Just as listening is before getting started. Having water on
terview is advantageous. It is even better the primary activity of piano technicians hand to drink during the interview is a
if these two people have worked together and musicians alike, it is critical for a good good idea, to keep the ol’ whistle wet,
and are generally “in sync” with each interviewer. The interviewer should be but it can contribute to the need to take
prepared with a list of questions from a break at some point, which would in
which to work. Start preparing the list turn necessitate getting back on track.
as far in advance as possible (so there is Avoid at all costs having to interrupt the
plenty of opportunity to add to it), and subject when he is on a roll, particularly
solicit input from others who know the for something that can wait, such as a meal
subject. Be sure to include biographical at a pre-planned time.
information (starting from, or even before If there is a meal to be shared, wheth-
the very beginning of the subject’s life), er between recording segments, or after
career highlights, stories for which the the day’s scheduled recording is complete,
subject is well known, and a few generic having some means of recording the
other.Two people with their own experi- questions.This last category may include audio only can come in very handy. I
ences, thoughts, attentiveness, and rapport items such as the subject’s early training, used a hand-held, self-contained digital
with the subject, along with deference for his relationship with PTG, how piano recorder, on the highest fidelity setting
each other, practically guarantees a better technology has changed in the course of available and at an appropriate record-
result than a sole interviewer (or no inter- his time in the field (particularly in his ing level, and placed nearest the subject.
viewer at all). We were fortunate in that own locale), his greatest accomplishments, Aforementioned cautions about battery
Rick and Richard met all of these criteria and his biggest mistakes. (Hey, everyone life and sufficient media also apply. People
for Norm. I couldn’t imagine a team bet- has had “stuff ” happen, and if your sub- will likely continue to elaborate or reflect
ter suited to the task—two of our finest ject is willing to admit it, these can be of upon things that were said in the session,
technicians and instructors themselves, great edification and amusement to other and without the video being recorded
seasoned public speakers, and exceedingly technicians.) (and with food and drink on hand), they

tend to be much more relaxed about the (Someone told me about attending a all of the considerations we have outlined
process. This audio-only “footage” can memorial service that featured a video above, and to back it up (i. e. make copies
be edited in over visuals such as articles, the departed had self-produced, very and store them on a separate hard drive,
awards, still images (AKA photographs), crudely, and without any editing. While preferably at a different location—that
etc., Ken Burns style. it was nice to receive the verbal message way, if someone’s computer dies, or even
After Norm’s passing, on the very from the deceased, the poor production if—heaven forbid—their house is de-
day that we held a celebration of his value—complete with fumbling to turn stroyed, you still have the raw material).
life and career in Los Angeles, RPTs in off the camera at the end—actually added If the resources are not available to do
Washington, D.C. were shooting their to the sadness of the event.) We were for- good editing right after the recording
first session with one of Norm’s contem- tunate to have Richard’s son, Jeffrey, as our session(s), once the subject ascends to
poraries, fellow founding PTG member editor. Jeff teaches the professional editing the great piano shop in the sky (and face
Wendell Eaton, RPT.Those orchestrating software Final Cut Pro® for Apple®, and it, eventually we all will), those resources
the session had consulted with us about so has great facility with the program. might just become available, from the
our experience, which became a catalyst Also, he is a fine musician in his own right, local PTG chapter, family, or some other
for this article. and timing (the length of edited segments, constituency that will take on completing
One of those involved with Wendell’s and the fade timings between segments) this task as their own high priority.
tribute is Joyce Meekins, RPT. Joyce is paramount in making many cuts, yet
makes a good case for audio interviews, having them flow together naturally. One Conclusion
either in addition to on-camera time, or often hears that “Cleanliness is next to It is important to make recorded
even instead of it. As she points out, most Godliness.” Well, my experience making tributes of our mentors in order to honor
people are more comfortable when they videos and audio CDs compels me to them in life, for us to learn from them fur-
are not on-camera, and there are very paraphrase that it is actually timeliness ther and to share their experiences widely.
hi-fidelity, hand-held audio recording that is next to Godliness. In short, a good On our drive down to Norm’s place, we
devices that can do a great job, and far less editor has both technical mastery of the bemoaned that fact that we had not re-
unobtrusively than with video.Also, there software being used, and a musical sense corded him ten years earlier (at 79 instead
are more situations in which we can listen of rhythm and flow. If the editor has not of 89, in his case), when he was a bit more
to audio (most notably, while driving, or been involved in the shoot or logging of lucid. Here again, timeliness is something
working in the shop) compared to oppor- captured material—and is, therefore, new to consider as one procrastinates about
tunities for viewing video. And, there is a to it (which is how most professional recording the raw material for a tribute. In
special intimacy about hearing a person’s movies are made)—so much the better. Norm’s case, had we waited a mere three
voice when you cannot see him or her All of that said, please, do not be months longer, there would have been no
(like radio, or recorded music—before daunted by what it takes in order to recorded tribute of him whatsoever. So,
there were music videos). do good editing. Just to keep things in carpe diem. (Seize the day.) Do it, sooner
perspective, the most vital thing is to get rather than later, but DO IT! n
Second Session something recorded to begin with, of as
Ideally, there should be a follow-up good quality as possible with respect to
session.This can be used to ask questions
that were not gotten to in the first ses-
sion, that come up after-the-fact of the
first session, and even to revisit some of
the material covered in the first session,
either for fact-checking, or just to get
another telling of the same tale. While
conducting musical research in West Af-
rica on a Fulbright Scholarship, I learned
DO WHAT
well the value of asking what amounts
to the same question more than once.
YOU LOVE
In the interest of clarity and accuracy,
having someone corroborate his own
tale is, in my opinion, worth the effort.
BASIC AND ADVANCED PIANO TECHNOLOGY
Editing The piano technology program attracts

This is a far more crucial step in students who share a passion for tonal beauty,
problem solving and mechanics. Located in
the process of producing a presentable
Boston’s historic North End. NBSS.EDU
video tribute than most people realize.
26 Piano Technicians Journal / March 2012 4C_1-4_Page Ad_PTG.indd 1 12/15/2011 9:01:50 AM

Grand Piano Una Corda Tone Regulation
By Nevin Essex, RPT
Cincinnati OH Chapter
The hobgoblin of piano voicing is the dreaded una corda shift the action all the way to 3 mm. Listen to each unison
(soft pedal) tone. When you think you have the piano perfectly with a mute between the middle and right strings. No left
voiced, the player walks in, presses the left pedal down, and, as strings should sound. In the bichord section, space the
loudly as possible, plays an embarrassingly uneven scale with both hammers to strike both strings when you shift.
hands. And it’s your fault. c. Now draw a pencil line at 2 mm. All the left strings should
At a high-profile training seminar I attended many years ago, sound when the action is shifted to the 2 mm line. None
the instructor taught us to voice the una corda position first, then should sound when you depress the action to the 3 mm
the full three-string position. The rationale seemed to be that it line. Of course, you can vary the numbers to suit your
would be all right to “un-voice” the una corda tone in the process experience, and you can tighten up the tolerance as you
of voicing the three-string position. If it’s not acceptable, then, gain experience to, say, 2 and 2.5 mm. [A few business cards
to compromise tone in the three-string position, why would it between the left end of the action and the action stop block will
be all right to compromise the tone in the una corda position? help you to shift easily between the two positions. Ed.]
How about working on a method that gives us good tone in d. Space, travel and burn to accomplish this standard.
both positions? Here is an approach to address these quirky issues. e. You will start to notice the uneven agraffe spacing and
First, the question: What makes the tone uneven when string spacing under the V-bar. You can choose how to
you depress the una corda pedal? Here are three reasons: manage that problem, either by re-spacing the strings if
(1) You could be shifting from three strings to one, rather you can, misaligning the hammers at rest, or by traveling
than to two. If your strings are not level and you’ve fit- and burning the shanks so that the hammer moves at
ted your hammers to those un-leveled strings (or you a slight angle to contact the string. I prefer spacing the
haven’t fitted hammers to strings in the first place), the strings, if possible, and when it isn’t possible, traveling and
string contact becomes uneven when you shift the action. burning hammer shanks to move at a slight angle and
(2) When you shift, you may still be striking three strings, as a result maintain an evenly spaced hammer alignment at rest. I
of imprecise spacing. Likewise, if you feather the pedal, and you like to mark the shanks I have intentionally mis-traveled
don’t have virtually perfect hammer spacing, somewhere in the for future reference.
middle positions some hammers strike two strings, others three. You may now find that voicing errors in the shifted position
(3) A hard edge on the side of a hammer can strike the string will serve to alert you to more subtle variations in the full three-
when you shift, causing brittle tone. string position. A little needling in either position improves the
So, let’s solve those three problems. other. Just be sure, every time you needle, to check for precise
1.Do a fine job leveling the str ings, all the unisons. hammer fit. You should find smooth, even tone in either pedal
2. Do a fine job fitting the hammers to the strings, all of position with level strings, hammers that fit, precise spacing and
them. These two operations will virtually guarantee no hard edges.
that when the action is shifted, the hammers will Leveling strings with a bubble gauge has not caught on with
still fit the strings. Nothing else you do can make manufacturers. This is an aftermarket product improvement and
that happen. it should not be considered a warranty defect if you see new
3. When you needle the hammers, needle all the way pianos with strings that are not level.
to edge of the felt. If you are needling lacquered hammers, I am aware that there are other solutions. One is to space
overdo it on the edges.Don’t round off the corners—needle them. the hammers so you don’t shift off the third string, but, rather,
4. Do a precise job of hammer spacing. Do it by ear. This, I think, continue to strike three strings even with the shifter pedal de-
is an uncommon idea, but it makes a world of difference. Try pressed. I suspect, however, that abandoning the una corda principle
the following procedure. is the result of uneven tone with the shifted position. Even so,
a. First, do a traditional spacing job by eye. Make it look the principle of leveling strings and fitting hammers still applies.
good, spacing, traveling and burning the shanks as I have also become aware that there could be damper oinks and
needed. meows related to shifting.
b. Then set the shifter stop so that the action shifts 3 This article is by no means exhaustive. Doing the work de-
millimeters. (Some other number, like 2.5 mm may be scribed here has made a big difference in the pianos I see and the
appropriate, especially in small pianos.) Draw pencil quality of my daily grind. I’d like to hear about your experiences;
lines on the keyframe and keybed to indicate the this subject is worthy of further discussion. n
movement of the action. Now depress the pedal to
Small Shop - Big Results
Grand Action Reconstruction: Part 4 - Installation of Risers
By Chuck Behm
Central Iowa Chapter Comments on Chuck Behm’s
Weber Restoration
By the end of the last By Anne Beetem Acker
installment, everything Savannah-Charleston SC Chapter
was set to install a set of
risers on the keysticks The complications of changing
of the Weber grand in wippens certainly came home to roost.
order to compensate for I applaud Chuck’s persistence and
the difference in height creativity.
between the old rocker/ From the point of view of con-
servation-oriented restoration, I have
sticker assembly and the
already expressed my concern for re-
new Wessel, Nickel & placing the wippens.
Gross capstan/wippen A significant concern when re-
heel arrangement. An placing action parts relates to relative
adequate supply of yel- weights of parts.We all know how awk-
low pine stock had been ward an action can become if hammers
Photo 1: Space provided for the saw blade.
milled down to the cor- that are too heavy are put on. Similarly,
rect thickness and sawn we must be aware of the total mass the
into strips for gluing onto finger must move when playing.
the keysticks. Holding the two wippens in my
To prepare for gang- hands, I was suspicious that the WNG
gluing the risers to the wippen was heavier than the original.
My gram scale revealed that the original
tops of the keysticks, I
wippen weighs 18 grams and the WNG
placed felt punchings part weighs 20 grams, a significant dif-
between the keysticks ference. Add to that the weight of the
(Photo 1), so that they risers Chuck found necessary to add
could be cut apart once behind the key’s balance point. On the
the glue had dried with- other hand, he removed the rockers
out scarring the edges. and their screws. I would be curious
The appearance of to know how these weights compare.
these original keys as Conservation-oriented restoration
seen in the photograph tries to preserve all original parts as
brings up a topic I think Photo 2:Application of glue to riser stock. well as the original relative orienta-
is important to consider, tion and geometry. The removal of
original material from the repetition
that of where to draw the
rail is a permanent loss of originality
line when working on that conflicts with these goals. As such,
an elderly piano such as it would be avoided as much as pos-
this one. Obviously, the sible. The alternate approach would
keys are showing their be to modify the replacement parts in
age, all 125 years. The preference to modifying the original
unplugged screw holes components. While Chuck is trying to
left behind from the match up to the original configuration
removal of the rockers as best as possible, which I applaud,
don’t help. I’m sure some there is an unavoidable accumulation
technicians would take of small errors that will further com-
one look at this photo pound the difficulty of ever knowing
how much the final result diverges from
and say that it would be
the original.The more you change, the
best to make an entirely more errors can accumulate. Somebody
new keyset. Photo 3: Riser stock positioned from side to side on a section of keys.

At some point, how- who wants to understand 19th-century
ever, it is only practical piano action design will not be able to
to say enough is enough. study this action. On the other hand,
After all, if the customer the piano will survive and will be used.
wanted a new piano, there The restorer faces geometric and
are new pianos for sale. weight issues when replacing action
In the case of this in- parts. Measurements should be taken
strument, I based my extremely carefully with accurate mea-
decisions as to what to suring tools, preferably finely divided
metal rules, calipers or micrometers.
replace on the benefits
The price of the tool is generally a
to be derived.The action good reflection of its accuracy. There
parts were literally falling is some room for variation, but given
apart, so replacement was the accumulation of errors that will
a necessity. Replacing the necessarily happen, it is important to
keyset was certainly pos- Photo 4: Clamping pressure applied. take each measurement as accurately
sible, but did not seem as possible. In addition, measurements
to me to be beneficial should be taken at a variety of sample
enough to warrant the points to determine an appropriate av-
time or expense involved. erage. Since the replacement wippens
Instead of gluing the will be on adjustable capstans, some loss
risers on individually, I of accuracy probably isn’t a problem in
this instance, but at least then you know
glued them on in sec-
you have done the best you can under
tions (Photos 2 and 3), so the circumstances.
that they could be sepa- Not only is the replacement wip-
rated and sanded flush pen heavier by two grams, but the
with the keysticks once wooden risers also add weight to the
the glue was dry. rear of the key balance point. If this
First, I aligned the weight is different than the weight of
center of the riser stock the removed rockers and screws, this
from front to back to will make a difference in the touch
assure the new wippen and feel of the result as compared to
heels would make good Photo 5: Pressure released. the original. It is admittedly difficult to
contact with the new calculate touchweights for an action in
poor condition. This makes it difficult
capstans.The grain direc-
to bring the action back to an original
tion of the wood of the touchweight by rebalancing the keys
risers was aligned with afterward, further removing this ap-
the grain of the keysticks proach from a conservation-oriented
themselves. (Note the restoration.As such, I would then just go
new backchecks shown ahead and apply a touchweight analysis
in Photo 3. I’ll discuss at the end of the game to eliminate
their installation in a later excessive heaviness.
segment.) The rule of thumb for conserva-
With the riser stock tion-oriented restoration is to “do no
glued and positioned, harm,” and in this case that means not
clamps were applied adding unnecessary material or remov-
ing or occluding original information.
(Photo 4). I used scrap
Interestingly, Chuck’s decision (based on
material above and below time, money and “enough is enough”)
the keysticks to prevent Photo 6: Cutting the keysticks apart. to leave the keysticks with the original
damage from clamps and unplugged screw holes from the rockers
to even out pressure. C-clamps on the edges and a traditional wood clamp in the is completely compatible with this point
center gave adequate clamping force for a bit of glue squeeze-out. The clamps of view. Chuck’s methods of clamping,
were left on overnight and removed the next day (Photo 5). Once the clamps sawing and sanding are also beautifully
were off, I cut the keys apart on the table saw (Photo 6).With the spaces between protective of the original keysticks and
the keysticks provided by my earlier insertion of felt punchings, the blade never any clues they hold as to their original
touched the keysticks. manufacture.

To finish the risers, I used a stationary belt sander to employed (Photo 8). Allowing the glue to dry and cure
smooth the sides down flush with the sides of the keysticks overnight is the key to a successful glue joint.
(Photo 7), and then smoothed out scratches with a sanding With the new risers completed (Photo 9), only the in-
block fitted with 150-grit paper.The joint between the riser stallation of the capstans remains to be done before the new
and the keystick is extremely strong when this method is wippens are put back into place. Things at this point seem
to be progressing nicely.
Photo 7: Sanding the sides flush.

Photo 9: Risers complete.
Stop by the shop in Boone for a visit if you’re ever in
the area. The coffee pot’s always on.
Chuck Behm is the owner of River City Piano Restorations in

Boone, Iowa. He can be contacted at behmpiano@gmail.com. n
Photo 8: Rough sanding complete.
PIANO TECHNICIANS GUILD

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THURSDAY, APRIL 19 - SUNDAY, APRIL 22, 2012
Road to Cavalese
By David Love, RPT
San Francisco CA Chapter
Through a confluence of circum- was something they would inevitably have

stances and unexpected events I was in- to consider, and why. Moreover, I wanted
vited by the AIARP (Associazione Italiana them to consider that original designs are
Accordatori Riparatori Pianoforti—the Italian not always optimal and that a method of
Piano Technicians Guild) to come to Italy analyzing each piano, its various design
and teach a three-day seminar on piano components, and the details of its execu-
technology, topics of my choosing. It took tion is necessary in order to ensure the best
place in September in Cavalese, a small possible outcome.
resort town in the Italian Alps about three I shipped over various tools and props of the list into virtually two separate lists
hours’ drive north of Venice. Upon arrival in advance and used them, along with a has diluted the content of each. It is clear
I was picked up at the airport in Venice by Powerpoint® presentation, for my various that the U.S. PTG is held in high esteem
my host, Sergio Brunello. I stayed the first lectures. To keep things moving I tried to and offers an unusual opportunity for the
night in his town of Treviso, a small 15th- maintain a balance between the theoretical sharing of information. Communication
century walled city just outside of Venice. and the practical. Each of the three days between the various piano technicians
After a day of acclimating and a brief but consisted of four hours of lecture in the around Italy is limited by a cultural bias
pleasant introduction to his family, we morning followed by a substantial mid- that holds trade “secrets” close and does
made the three-hour drive to Cavalese. day meal. We resumed in the afternoon not lend itself to open discussion. I encour-
The road through the Dolomites can only at about 3:00 and continued until about aged them to talk more with each other
be described as stunning, with breathtak- 7:00, a typical schedule. They were an and tried to impress upon them that the
ing vistas at every turn. enthusiastic and engaged audience, ask- tradition of shared information was one of
For my presentation I chose a some- ing many questions and challenging me the truly great things about PTG, and it
what ambitious program on the rebuilding on many issues, which I had encouraged helped to advance the trade. I warned them
of pianos, surveying such topics as scaling, at the outset.The back-and-forth allowed that the danger in being so closed was not
soundboard design and function, hammer me to get a strong sense of where they only limiting the opportunity to learn, but
selection, pinblock replacement, bridge re- were technically and what their interests also that the guarding of trade secrets can
conditioning and recapping, downbearing, and attitudes were. It was a tremendous perpetuate myths that only prevent the
and a brief introduction to the Stanwood amount of information both to present trade from moving forward. It is my hope
balance weight system and weight control and to digest, but it was well worth it. that PTG will see this opportunity to more
methods. My underlying theme, which I Following the afternoon session, dinner aggressively reach out to an international
characterized as “Considerations,” was to was served at about 8:30. The food, of community and recognize its somewhat
describe the choices one must make and course, was fantastic. The opportunity to unique attitude in the open dissemination
the criteria one should use in the process talk to people in a more informal setting of information.
of rebuilding a piano: to reproduce what gave me chance to get to know many of In the end I made many new friends
is there, to optimize, or to redesign. The the technicians and something about their and gave them an open door to contact
primary goal of my program was to make lives and businesses.After the evening meal me at any time to clarify any of the many
it understood that in the design or rebuild- the group gathered in the hotel lobby and topics I covered, or to help them to solve
ing of pianos, a successful tonal outcome took turns at the piano, playing and singing technical problems they might have. I
is best achieved when the components of everything from arias from the great operas hope to return to Italy soon, as it is a
scale, soundboard and hammer all work to- to American show tunes. Viva la vita. country easy to fall in love with.Traveling,
gether to form a unified whole. Imbalances I was surprised by the number of Ital- of course, teaches you much about other
created by poor scale design, changing ian technicians that kept pace with piano people. But moreover, it teaches you much
soundboard conditions or poor hammer technology by reading the Pianotech about yourself, and for that I am grateful
matching can create tonal problems that e-mail discussions. My posts were well to my Italian friends.
we can have difficulty overcoming.As Ital- known to many of them, as well as those by My special thanks to the board members:
ian technicians are not currently prone to Dale Erwin, Ron Nossaman, Del Fandrich, Luciano Del Rio, Sergio Brunello, Salvatore
consider the replacement of soundboards Nick Gravagne and others. It saddened me Tarantino, Davide Papes, Marcello Tarquini; to
(only one in the group of fifty I taught had to think that the new Web format of the my host Sergio Brunello; and to my translators
ever tried it), one of my goals was to con- list may make it more difficult for them Sergio Brunello, Marcello Fanutza and Mario
vince them that soundboard replacement to access and read, and that the splitting Campanale. n
Coming Events
March 10, 2012 October 15, 2012 – October 17, 2012
JUDE REVELEY SEMINAR (Hosted by South Central Regional
New Orleans PTG Chapter) Conference (SCRC)
Understanding the Grand Action and YO Ranch Hotel
Comprehensive Restoration Kerrville TX
Dixon Hall - Tulane University Contact: Dale Probst, RPT
New Orleans LA wardprobst@wardprobst.com
Contact: Patrick Mackey, RPT Phone: 940-691-3682
patrickmackeyrpt@yahoo.com www.scrcptg.org
Phone: 504-610-5268
April 19, 2012 – April 22, 2012
2013 EVENTS
March 7, 2013 – March 10, 2013
Nashville PTG Chapter
MUSIC CITY WESTERN & PACIFIC NW REGIONAL
Holiday Inn Nashville CONFERENCE (WESTPAC 3)
Opryland/Airport Hyatt Regency Phoenix
Nashville TN Contact: Peg Browne, RPT
Contact: Steve Taylor westpac2013@gmail.com
staylor@ptgmusiccity.org Phone: 928-476-4143
Phone: 215-534-0533 April 18, 2013 – April 21, 2013
www.ptgmusiccity.org
PTG MID-ATLANTIC REGIONAL
April 26, 2012 – April 29, 2012 CONFERENCE (MARC)
Dolce Valley Forge
NEECSO SEMINAR King of Prussia PA
Sheraton Hotel & Conference Center Contact: Steve Taylor
South Burlington VT staylor@ptgmarc.org
Contact: Allan Day, RPT Phone: 215-534-0533
pianomanday@comcast.net www.PTGMARC.org
www.neecso-ptg.org
All seminars, conferences, conventions, and events listed
May 12, 2012 here are approved PTG activities. Chapters and regions wish-
DAVID HUGHES SEMINAR ing to have functions listed must complete a seminar request
(Sponsored by Richmond VA PTG Chapter) form. To obtain one of these forms, contact the PTG Home
Office or your regional vice president.
Muse Creative Workspace
Once approval is given and your request form reaches the
Richmond VA
Home Office, the event will be listed, as space allows, until the
Contact: Alan Hallmark
month in which it is to take place.
alan.hallmark@verizon.net
Deadline to be included in the Events Calendar is at least
Phone: 804-346-8068 45 days before the publication date; however, once the request
July 11, 2012 – July 15, 2012 is approved, it automatically will be included.
PTG CONVENTION &

TECHNICAL INSTITUTE Deadlines
Hyatt Regency
Seattle WA 4/2/2012 • PTGF scholarship applications due to
Home Office (download applications from www.
Contact: Sandy Roady
ptg.org).
sandy@ptg.org
Phone: 913-432-9975 4/2/2012 • Council reports and agenda items due to
http://convention.ptg.org Home Office.
4/2/2012 • Council delegate and alternate names due
to Home Office.
PTG REVIEW
Dedicated to PTG News Interests & Organizational Activities
New
Members
January 2012
Region 1 Region 3 John Lee NEW RPTs
021 Boston MA 767 Heart of Texas 1641 Black Oaks Pl
Liao Liu Glenn Doyle Plymouth MN 55447 Region 1
82 Beltran Street 100 Highland Street 195 Reading
Malden MA 02148 Hillsboro TX 76645 Donna O’Brien Lancaster PA
1814 16th Court West Julia Gottschall, RPT
David Moulton Region 4 Williston ND 58801 1062 N 6th St
10 Maple Drive 601 Chicago IL Reading PA 19601
Auburn MA 01501 Steven Smith Region 7
777 Whispering Oaks 981 Seattle WA
Scott Ness Palatine IL 60074 Nathan Jensen
66 Oakland St 1244 NE 188th St In Memory …
Brighton MA 02135 Region 5 Shoreline WA 98155
553 Twin Cities MN John Lansing, RPT
Ezekiel Wheeler Kevin Esboldt Manasquan NJ
International
131 Fawcett St 813 2nd Street West Wei Yan Wo
Cambridge MA 02138 Earl Stuckenbruck, RPT
Hastings MN 55033 2/f 108 Tung Kok Wai Johnson City TN
Fanling NT 00000
Mark Whitlock Hong Kong
5 Fairview Terr
Malden MA 02148
078 New Jersey

Timothy Taylor
885 Boulevard Apt B SPRING
FORWARD!
New Milford NJ 07646
Region 2
294 Savannah
Charleston
John Krucke
www.pianotechschool.com
4522 State Rd 312/666-7440
Ridgeville SC 29472

E Auxiliary Exchange
A Visit to the Piano Technicians Guild
Foundation Museum
By Florence Martin
Poguoson, Virginia
long ago was that? Not that long ago, for here is the piano
from the stage.
The variety of the shapes and sizes of the pianos sur-
prised me. A very tall, imposing one resembled a harp, as
if it were a grand piano presented vertically. One could
imagine it demanding obeisance from the entire scheme
of décor in a Victorian parlor. There were square pianos
with lavish wooden trim; the Lincoln piano had red vel-
vet in both the piano and the bench. One square piano
was so plain that it looked as if it would be at home in a
hunting lodge or even a business office.There were some
grand pianos like the ones we know and love. Each piano
was immaculate—as if only yesterday it stepped out of the
manufacturer’s showroom.
I was amused at and pleased by the practical use of
grand piano frames serving as shelf supports for cases to
hold the tools of the trade. On first viewing, I assumed the
shelves were a clever way to recycle the frames of grand
pianos. One of the technicians later informed me that the
shelves’ spines were built especially for the presentation.
This brings me to an interesting new perspective:We
were discussing the museum visit at our chapter’s Christ-
mas dinner. Several of the technicians pointed out what
they saw and enjoyed. I have to say they were wide-eyed
in their discussion. What they appreciated were the dis-
plays of the tools of the trade and the way the tools have
developed down through the years.
The tools were a very important aspect of the museum
that I was not able to appreciate; however, the museum
speaks to all of us and is itself the presence of history. n
Last summer during the convention in Kansas City,
the Auxiliary members were treated to a tour of the Piano
Technicians Guild Foundation Museum. It had fascinating
displays of piano memorabilia. I’m sure there are plenty of For a video tour of the PTG Foundation Museum,
people who could give you a better technical, historical, go to www..ptg.org and click on the PTJ Videos icon at the lower
practical view of the displays, but I am going to tell you left corner of the home page.
what I, an Auxiliary member, appreciated, enjoyed, and
understood.
The display that impressed me the most was the one
which had a picture of Abraham Lincoln on a pedestal
beside the piano and a sign informing the observer that
this piano is the one that was on the stage in the Ford
Theater the night that Lincoln was assassinated. I stood VIDEOS
awed in the presence of history. Abraham Lincoln? How
VIDEOS
F Foundation Focus
Foundation Contributions
4th Quarter 2011
Corporate Patron Gerald M. Paluck
Jack R. Wyatt on behalf of Leon A. Carl Eisenstadt on behalf of Glenn W. Suyker
Speir, Laura Olsen, Ruth Phillips, Robert Moore Gregory Boyd
Fred & Marilyn Raudenbush, Jim Ben Gac Gordon H. Johnson
Coleman, Jr., Jim & Susie Geiger, Bruce L. Groll Helen M. Goodale
Ricki Klos, Ward Guthrie, Wally & Christopher P. Kennedy Helga A. Kasimoff on behalf of
Vivian Brooks, Claude Harding and Craig M. Ryder Bill Kasimoff
David & Dianne Durben David Y. Napier Irene Norman
Fred & Marilyn Raudenbush on James E. Todhunter, Jr.
Benefactor behalf of Jack Wyatt James L. Payne
Atsundo Aikawa John M. Russo Juanita Campbell
Ray Chandler on behalf of Keith A. McGavern Joe W. Malecki
Steve Brady Machiko K. Sobrin John E. Gould
Richard J. Murphy Peter G. Acronico John Porterfield
Rachel W. Down Kathleen S. Harrod
Sponsor Raymond W. Negron Katsufumi Seki
Bruce Dornfeld on behalf of Ruth M. Van Dine Keiju Tsuruta
Michael Drost Stephen H. Snyder Ko Segawa
Charles J. Maddox Steve George Makito Fujimoto
Charles & Shirley Erbsmeh Steve W. Sandstrom Marta Paz Eiroa
Christopher Solliday Terence R. Miller on behalf of Mary B. Thomason
Daniel Levitan Carl Meyer Mary C. Smith on behalf of
David Lamoreaux Susan Graham
Diane Cousins Supporter Matthew J. Hirschfelder
Emily Goya Hilbert Akihiro Inoue Mike Reese
Fred Raudenbush Evelyn P. Smith on behalf of Pablo Larumbe Duran
Guennadi Korolev Laura Olsen Paul Riedel
Henry S. Kopek on behalf of Isaac Sadigursky on behalf of Philip J. Gurlik, Jr.
Jeff Cappelli Carl Lieberman and Robbin George
Isaac Sadigursky on behalf of Ron Nossaman Robert A. Zahtilla
Joe Garrett PTG-Central Pennsylvania Chapter Stephen Smith
John H. Baird on behalf of Dick Bittinger Stephen Smtih on behalf of
Marlyn Desens Robert L. Hoff heins Virgil Smith
Michael T. Hoffman William J. Grogan, Jr. on behalf of
William Grogan, Sr. Steve E. Walthall
Norbert F. Lesjak on behalf of Steven F. Fair
Jack Wyatt Steve J. Blasyak
Friend
Paul Olson Barbara Pease Renner on behalf of Susan C. Kline
Peter D. Coleman Wade Johnson Tadamitsu Hayakawa
PTG Central Pennsylvania Chapter on Carole Kupelian Timothy M. Farley
behalf of Willis Snyder Cyrus Shuster Timothy P Van Vliet
Richard Brekne on behalf of Daniel P. Eberhardy Val B. Jones
Newton Hunt David B. Stoneman Victor N. Camacho on behalf of PTG
Robert B. Barrett David H. Frease William D. Pelto
Robert E. Bowen David M. Pinson William E. Edwards
Vernon N. Douglas, Jr. Elizabeth A. Baker Zheng Chu
Yat-Lam Hong

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Trumansburg, NY 14886; 607-387-3095. RESTORATIONS: Keytops with fronts
$265, German keytops $315, bushings
FINALLY, A KEYTOP SERVICE that $160 both rails, plastic sharps $150/set. PIANO TECHNOLOGY AT NORTH
offers quick turnaround, top-notch work, New Ivory installed $4000, individual BENNET STREET SCHOOL - Extensive
personal service and affordable pricing. ivory pieces replaced $50 each (head piano technology training in two full-
White or off-white .075 tops with molded or tail). Ebony sharps, backchecks, time, nine month programs. Basic Piano
fronts $180. Prepay and return shipping is keyend felt, key sides repaired, etc. Technology includes tuning, regulation
free. All work done by myself, a veteran Price list sent on request. 530-273-8800. and in-home repairs and Advanced Piano
RPT in my shop. Bushing work also. Caryl Christensen,Yvonne Ashmore, Technology, open to Basic Piano graduates
Mike Kurta, WWW.KEYTOPS.NET RPT, ashmore@gv.net , 12700 La Barr and applicants with comparable knowledge
231-421-1816 Meadows Rd. Grass Valley, CA 95949 and skills, includes complete rebuilding
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RONSEN PIANO HAMMERS HARDWARE - Complete refinishing service, advanced tuning and voicing.
Manufactured in the U.S.A. since 1958. of piano hardware.Polishing, buffing, Exceptional training, small classes and
Four types of felt to meet your needs: plating with nickel or chromium. Bright individual attention. September admission.
Weickert Special, Wurzen AA, Bacon, and or satin. Also polishing and clear coat of Accredited by ACCSC. Financial aid
VFG. All Hammers custom manufactured. brass. 31 years experience in decorative available. Located in Boston’s historic
Custom boring and shaping. Tokiwa finishing. UPS service daily. Samples of North End. Email: admissions@nbss.edu.
shanks. Most orders shipped in 3 to 5 our work done at n/c. Mark Goldreich, Web: www.nbss.edu
business days. Ronsen Piano Hammer Co., Rayco Metal Finishing, Inc., Middletown,
21 Edwards Lane, Boiceville, NY 12412. CT 06457. 860-997-3221. e-mail:
1-800-864-0233, ray@ronsenhammer. classicpianohdwe@aol.com
com, www.ronsenhammer.com March 2012 / Piano Technicians Journal 37
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tuner’s life
Beyond the Road and Into the Woods

By Craig Turner
Northern Virginia Chapter
When the customer gave me directions to her home, she

said,“Take the dirt road into the woods and you’ll find the
house at the end.”
“Dirt road?” I asked. “Woods?” I live in the middle of
suburbia. For miles in every direction one will only find neigh-
borhoods, single-family homes and an occasional strip mall.
There are no woods or dirt roads for an hour in any direction.
“Oh yes,” she said emphatically.“Just follow the dirt road.”
The dirt road was situated at the end of a paved stretch that
looked like a driveway with no street sign. I headed into the
woods and onto hard-packed dirt and first passed an old barn
on the left that had been converted into a home. The house
to which I was going was on the right, a shining example
of modern America resting in a small forest of uncut timber.
The descending sun cast long shadows through the
branches into the yard, like the bony fingers of Nosferatu’s
hand. A light breeze shifted the branches of the leafless trees.
I scurried quickly to the front door, and after pushing the
doorbell, was greeted with a warm and boisterous, “Hello!”
She directed me to an old Chickering upright with three face and onto her dress. He, more stoic, but smiling with great
glass panels in the front that revealed the hammers and strings. delight, kissed her forehead and continued to lead.
It had been at least partly restored, and was at first glance an When I finished the song, I swung around on the bench
excellent example of what can be done with an old piano. just in time to see the lovebirds still clinging to each other.
The piano had been restrung in recent years and had been With emotion so great she was almost unable to speak clearly,
tuned a half-step flat. The owner did not mind: She simply she said to me, “When I was in eighth grade, I met this man.
wanted a piano to practice on and that looked good. And he gave me a song to keep—‘Bridge Over Troubled
The home was an eclectic mix of old furniture and an- Water.’ It’s our song, and he’s been my bridge over troubled
tiques. The owner, waving a hand to showcase her treasures, water ever since!”
confessed to being in love with quality antiques. Her furniture I packed my things quietly as she continued to exclaim
was carefully selected, an assortment of only her favorite styles her delight in having a working piano, and as I headed toward
and fashions. the door she approached me slowly from the other side of
When I was finished repairing and tuning the piano, I the room.Tears still streamed down her cheeks, and the look
scooted the bench back just a bit and launched into one of of both joy and gratitude appeared on her face. “May I hug
my favorite piano tunes: “Bridge Over Troubled Water.” The you?” she asked.
owner exclaimed from behind my back, “Keep going! Keep If her husband were not in the room I might have de-
going!” and moments later I heard the sound of shuffling of clined, but I said with pleasure and the gratitude of working
feet behind me. Whispers began to fill the room as I neared in a profession that brings joy into people’s homes, “I would
the end of the first coda. As I completed the first chorus and be honored.”
transitioned to the next, I quickly glanced over my left shoul- The outside world is a place beyond ourselves.What lies
der just far enough to see husband and wife slow dancing in within is our true universe, and it is here, like the interior of
the middle of the living room floor.Tears tumbled down her this woman’s home, that we cultivate the garden of joy. n

PSVC2566 PTG Journal Ad March 2012_Layout 1 2/7/12 2:44 PM Page 1
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Journal

OFFICIAL PUBLICATION OF THE PIANO TECHNICIANS GUILD

All Your Duplication And Replacement Needs. 800-747-4266

March 2012 / Piano Technicians Journal 1

The Touch Solution Randy Potter School

www.pitchlock.com ( 814 ) 883-7213 We Are:

March 2012 / Piano Technicians Journal 3

Ben McKlveen, RPT

Departments of Piano Tone

rol 27 Grand Piano Una 31 Road to Cavalese

Big Results Woods Please submit suggestions for Q&A to:

March 2012 / Piano Technicians Journal 5

6 Piano Technicians Journal / March 2012

March 2012 / Piano Technicians Journal 7

Isaac Sadigursky, RPT

LED Work Light

Photo 1: A felt punching stops the drop.

When using my blow distance gauge, I would occasionally

Pull It Out for Letoff

8 Piano Technicians Journal / March 2012

Photo 6: Use a curtain rod to measure a lyre brace.

sliding joint to mark the correct length.This is your template

Christopher Storch, RPT

For a video demonstration of this technique, go to

Eric Schandall, RPT

Curtain Rod for Lyres and Strings

March 2012 / Piano Technicians Journal 9

The Quest for Ideal Piano Tone: Part 3

10 Piano Technicians Journal / March 2012

March 2012 / Piano Technicians Journal 11

Fall 2011 Issue

• Non-Traditional Materials and the Piano

Plus Basic Knowledge articles, brand profiles,

March 2012 / Piano Technicians Journal 13

By Alexander Galembo, Ph.D.

14 Piano Technicians Journal / March 2012

March 2012 / Piano Technicians Journal 15

16 Piano Technicians Journal / March 2012

March 2012 / Piano Technicians Journal 17

20 Piano Technicians Journal / March 2012

Registration, exhibitor, hotel information available at http://convention.ptg.org

Eric Schandall & Tone Røimål

New Topics, Themes and Imaginings

Steve Brady - Under The Lid

And, don’t miss Steve’s other classes...

The Full-Service Approach to

March 2012 / Piano Technicians Journal 23

24 Piano Technicians Journal / March 2012

March 2012 / Piano Technicians Journal 25

Editing The piano technology program attracts

26 Piano Technicians Journal / March 2012 4C_1-4_Page Ad_PTG.indd 1 12/15/2011 9:01:50 AM

28 Piano Technicians Journal / March 2012

March 2012 / Piano Technicians Journal 29

Photo 7: Sanding the sides flush.

Chuck Behm is the owner of River City Piano Restorations in

Photo 8: Rough sanding complete.

PIANO TECHNICIANS GUILD

Through a confluence of circum- was something they would inevitably have

PTG CONVENTION &

078 New Jersey

March 2012 / Piano Technicians Journal 33

March 2012 / Piano Technicians Journal 35

For Sale have restored and sold pianos to clients

36 Piano Technicians Journal / March 2012