The semi-weekly messenger. [volume] (Wilmington, N.C.) 1897-1908, 1906-10-09
WORK OF THE PIANO TUNER
It's Scientific, Technical and PracticaI
Treatment by a Factory Expert
Il Tuner, Action and Tone Regulator
of New York.

Il Tuner. Action u Zone
of New York.
For The Messenger.
When after long years of expert
riment, the ciaTichord Inc harpsichoro
were evolved from the ancient harp
Kire Louis XVI showered with taVors
the ma whose genius had accomplish
ed so much. And yet how insignificant
the poor little "Spinet" appears to
modern eyes! Compared with the
modern Grand Piano 1t is but a Toy,
and the great development of this in
strument in SO short a i'm is per-
haps responsible for the amazing 1g-
norance of it's construction, manifested
even among musicians.
That the construction and care Of a
piano may be better understood by
tuners, dealers, and owners Of pianos,
is the aim of this work. Most tuners
have some musical ability; in fact,
having a musical ear led them to
choose this as a profession, and hav-
ing musical ability, they lack mechanl-
cal skill, for not often does the same
person possess both in the same de-
gree. And it is also true, that all
have not had the advantage of factory
training, where, while learning to tune,
they could also become familiar with
the actlOn, us COHSlIuCtloh, Ic5uio
ton, and how best to repair, when re-
quired. To aid in raising the stand
ard of work outside of the factory; to
keep pace with the rogress Of those
who make the piano, and to more
fully instruct the public in general,
upon the worthy Use, and protection OF
his most popular Of all musical in
struments, is an object worthy OF our
best efforts.
Tn {hn onnctr1ctinn nf q niqnO the
first and most important step is draft
ing the scale: in other words, plan
ming the piano, as a house is planned,
only the estimates for measurements
in a piano are figured 20 the minutest
fraction, and from the draft, or draw
ing, the wooden pattern is made, from
which is cast the iron plate. Accurate
allowance for the shrinkage Of cast
iron, in cooling, must be made in
drafting the scale, and making Of the
pattern, to the One-eighth Of an inch
to the foot. or the whole plan will be
disproportioned, and faulty. Careful
estimates must be made, also, as to
the exact amount Of strength required
in the iron plate to bear It's part Of
the strain Of the strings; n no more
weight of iron must be added than
required for perfect security. In the
construction of the case, the same
method of planning is followed; and
not only must the case be drawn to
the same scale, but the woods employ-
ed in its construction must be chosen
to their fitness to Withstand the vari-
Gus strains, and even the position
they assume, and the way their annu-
lar layers rum, will determine their
strength and utility.
The blocking of the piano must be
of light wood, but such as will best
resist all strains and compressions;
and while iron frame and case are
made with reference to their part in
the production of tone, it is in the
construction OF sound board that the
acme of knowledge, skill, and art is
reached. Not less care and mechanical
knowledge is required in the cOnstruc-
ton and adjustment Of the action
which is drawn to the same scale, and
the present standard Of which is for
weight Of touch two and one-quarter
ounces, and fve-sixteenths of an inch
for fall of key, or depth Of touch. All
the known varieties Of wood have
been tried, and spruce alone found to
give best results.
The time of telling the truce; cut
ting up; the length Of weather and
indoor seasoning; the number OF
pieces constituting the board; the di-
rectiOn Of the grain: the amount Of
sap, or imprisoned amber, that the
l'No pal . licll l4IoIi IL al
Der and ricetion of the bars or ribs:
the compression Of the fibres Of the
wood, through browning Of the board.
or by the use Of compression screw:
the varying thickness of the board,
and best how to confine 1t within the
case: all these and many other points
must be considered in the makeup
of a piano. Tuning, action n tone
regulating ls more than n labor,
it is an art Of the highest profession;
n not a few dealers. aside from
owners, have yet much to learn before
they a fully appreciate the perfect
ed piano of today, it's artistic temper
ing and tuning, and delicate adjust
ment. by action and tone regulating.
Owing to the general use now made
OF a piano, 1t may not be amiss to
say . few words on the art of tuning
the instrument concerning which,
ave learned by experience, some very
hay notions prevail. There are rev
tuners. about whose work so many
Complaints are made, who are experts:
and consequently we frequently hear
the question, who is really the best
tuncr?" y perfectly satisfactory ans.
wer can unfortunately never be given
to this query: for no man is so at all
times. First one and then another
is tried, but perfectly satisfactory re-
suits are seldom attained. for the sim
pie reason that so many owners OF
pianos are unaware Of what a tuner
business really is. Where does the
fault lie, then? Do not tuners, as q
rule, know their business thoroughly
Are they not competent: or are they
not willing? Do they lack practice;
or DO they lack patience? Or is, afte,
all the piano to blame?
I will endeayOr-in the interests Of
tuners as we'll as Of the owners o,
pianos-to give as clear and distincr
an answer to the question as possible
The simplest is as follows: It is i'm.
possible to tune a piano perfectly true
and the best tuner in the world is OBJ
liged-whether he likes 1T or not-tt
tune the instrument untrue. It is JUS
this wherein the art OF tuning con.
sists.
"Oh, what nonsense!" many a play
er will exclaim: Il have played OF
numer OF pianos that wer,
timed DerfectlV true" Ry vO11r leave