Step 1: Tune one string in middle octave The middle octave is middle C also called C4, upward to C5. Each key in this region strikes three strings in most cases (two on some reduced spinets like mine.) Pick one string to work at a time; if three strings, start with the middle. Carefully find the pin that turns the string you want to tune. Place the lever so that the socket is fully seated on the pin. Place your foot on the sustain pedal to lift the dampers off the strings whenever placing or removing mutes. This will protect the felt of the dampers while you place mutes. Gently place the rubber wedge mutes to stop the vibration of the other strings in the set, but not so tight that the string is unnecessarily deformed. Turn the pin counter-clockwise to slightly loosen the string (flat the note). This assures that you are on the right pin, among other things. While repeatedly striking the key FIRMLY, turn the pin with the lever clockwise VERY SLIGHTLY until the Korg shows that it is in tune. The Korg CA-40 or OT-120 automatically detect the note you are trying to reach. If the pitch is really off, the Korg may think you are on another note, so make sure you know what you are looking for. The OT-120 can be set to listen for a specific pitch. Alternatively, the CA-40 or the OT-120 can also play the tone for you to tune by ear. More about matching by ear in Step 2. Important Details About the Process: The lever socket must be securely placed on the pin. The pin will bend, mar or even strip corners if the lever socket is not seated completely. The handle should have no side to side movement when properly seated; the only direction of movement should be a radial turn. Proceed slowly. Its easy to get onto the wrong pin when starting. It can also take some time to get your ear accustomed to what you are listening for. If you are hasty you can stretch the string to the break point before you realize your mistake. Righty Tighty, Lefty Loosey! Turning the pin right/clockwise will tighten to raise the pitch. Turning it left/counter-clockwise will loosen to lower the pitch. Do not overwork the pin. Twist it gently, little by little, without bending it. Dont wiggle it side to side in any way. Move the pin as little as you can (youll get better with practice.) Too much twisting and wiggling can loosen it; a loose pin will keep slipping out of tune. Rough technique may permanently loosen pins, requiring replacement by a technician. As a novice, its better to stop with pretty close over exactly right in order to resist the temptation to overwork a pin. Perfection requires time. Listen carefully for a change in tone when you begin turning. You should hear a change in tone with even the smallest movements. If nothing changes, stop to make sure you are on the right pin. Loosen the tension (turn left) a little first before tightening (turning right). Better to relax the string with your first movement, than to over-tighten needlessly, especially if you happen to be on the wrong string! Over-tightening breaks strings, and is a common error for the inexperienced. Establish a pattern. Develop a consistent sequence for each note, e.g., middle string--right string--left string etc. You will eventually learn the pattern for what string goes to what note, you be less likely to choose the wrong pin, and you will not as easily loose track of what you have done. It does not have to be the order we give you; a pro piano tuner have his or her preferences, too About Setting the Pin. Setting the pin means to move it in such a way that it does not easily slip back. To set, your final movements should be: a slight tightening/clockwise move to stretch the string just a hair above pitch followed by an even slighter loosening/counterclockwise to move into correct pitch. This is where practice comes in. The better the tuner, the better he or she is at setting pins, and the longer a tuning holds. As a novice, your result probably wont hold as long because of this important skill. Strike the key firmly while turning the lever. The vibrations this creates equalize the tension along the string. A string firmly struck while turning will stay tuned longer. If play softly, the string may relax later when someone does play it hard, and it will slip out. If you like, you can begin with gentler hits; striking it hard all the time is exhausting and irritating to the ear. After you think you have a string tuned, finish with a very sharp test blow or two, then recheck the result before moving on. Tune to the early tone as you strike. As string vibration diminishes, the pitch will change slightly. Use the first, loudest sound made. Strike again if the volume begins to diminish before you finish. Hey, that rhymes. With an electronic tuner, particularly an inexpensive one with its low-resolution, jumpy LCD needle, you will find it nearly impossible to hit the exact frequency each time. I let the needle hover just a shade sharp when in doubt, as things generally (though not always) go flat over time rather than sharp. Note that I am not deliberately tuning sharp; rather I am avoiding erring flat due to the limitations of the display. (In some humid climates, notes may temporarily go sharp as the air moisture swells the soundboard, pulling the strings tighter. However, even here the change from humid to dry to humid will ultimately result in relaxed, flat strings.) Step 2: Match remaining string(s) After the first string is tuned, its time to tune the other string or two in the set to the first; this is called tuning the unisons. Move the mutes so that the first, tuned string and a second string are free, but the third, if present, is still dampened by a mute. Ignore the chromatic tuner; tune the unisons by ear. Put your wrench on the second strings pin. While repeatedly striking the key hard, turn the second pin until you can hear no more beats--that is, it sounds like one note, not two in disharmony. Repeat for the third string if necessary, with all rubber mutes removed. Diagram of piano keys with octaves numbered and octave four colored in green Repeat Step 1 and Step 2 for each in note from C4 to C5. When you have completed this first octave, you have set the temperament. In Step 3, you will use this first octave as your reference for the rest of the keys. Turning a piano pin (104k mp3). Click to play. If you are not sure what to listen for, here is an mp3 (104k file) I recorded of a unison being tuned. (Javascript Pop-up window.) In the recording, I start with an A4 that is in tune, then use the lever to loosen one of the strings out of tune, then bring it back into tune again. Disclaimer: In order to demonstrate in this mp3, I have turned the pin much more than is healthy. Turn as little as possible to avoid loosening them. Do not tune the unisons with the electronic tuner. Its all but impossible to get a match that way. Tuning unisons by ear is the quintessential skill here; no electronic device can replace it. For more on unisons and handling the lever, see our blog. Step 3: Tune by comparing octaves. When you have tuned all the strings in the middle octave, you have set the temperament. You will now use this middle octave, not the electronic chromatic tuner, as the reference for the rest of the keys. Do not use the chromatic tuner. First, tune the octaves above and below the middle by ear, matching them to the middle octave, e.g, A4 to A5, B4 to B5, etc. Work one string in the note at a time (muting the others)--this time comparing it to the corresponding note in the middle octave rather than the chromatic tuner. Second, tune the other string(s) (that is, the unisons) within the note to the first as described above. Finally, work your way outward, octave by octave (e.g., A5 to A6, then A6 to A7, etc.) Hit both a reference and the key being tuned at the same time with one hand while using the lever with the other. Since the hand only spreads one octave, this presents the risk that an error or a pin that slips can be carried on, so frequently compare to the temperament octave and already-tuned octaves as you go. As you get to the extreme high and low octaves, it becomes harder to hear precise differences between the reference and the target. If in doubt, err on the sharp side for upper octaves, and on the flat side for lower octaves for the best sound (see Finer Points below.) Similar to unisons, the exact order of progression of key to key is up to you, but its best to keep to a pattern so as not to miss anything. Furthermore, you may alternate between high and low octaves to keep tension on the soundboard equalized and your results stable. What if I just want to fix A2 or B6 or something? Tune the corresponding note (e.g. A4 or B4) in the middle octave to use as a reference. Note: if you have an electronic tuner that can show frequencies or play reference tones for octaves other than the middle octave, do not use it for anything but the middle octave. If you use the A2, for example, on an electronic tuner that is not specially designed for piano, you will not get a good result because of inharmonicity. Why not use the Korg (or an electric keyboard) for all the keys directly? Even if you get every note perfectly with a simple electronic tuner like a Korg, you will not get the best result. The different lengths and types of strings tend to alter their resonant characteristics from the ideal. This phenomenon is called inharmonicity. The mathematically-calculated equal-temperament pitch actually sounds wrong for many keys, getting worse the further you are from the middle, and more so on smaller instruments with shorter strings. In an acoustic instrument that has been entirely tuned with a simple electronic tuner like the Korg, the top registers will sound flat, and the bottom registers sharp. Similarly, electric keyboards will not have stretch and so will not provide the correct reference, either. In practice, only A4 (A above middle C) is tuned to a outside standard pitch, 440 Hz; all the other keys are tuned relative to A4. In fact, a purely aural (by ear) tuner may just tune the A with a fork and do the rest by ear. In our simplified method, using a simple electronic tuner to set the temperament, then putting it aside to tune octaves by ear will get you closer to proper adjustment automatically because it will sound right. This more closely approaches what a professional piano tuner who tunes by ear does. See Stretching Octaves below. If you desire an electronic tuner to do all the keys, then you will need a professional device or software, though a professional using these devices will make further adjustments. Finer Points Stretching Octaves: For the sound, one must stretch octaves, which is to intentionally pull upper octaves progressively sharp and lower octaves progressively flat. Electronic equipment and software can help a professional piano tuner calculate precise stretch frequencies, but these are expensive, and even then he or she will often adjust it from the inidicated value anyway. In our method, we are aligning the entire middle octave to an outside standard, which is not the best, but these notes are stretched very little if at all. Furthermore, by adjusting the remaining octaves by ear, we tend naturally to stretch the octaves because it sounds right. This mimics the technique of someone who tunes by ear. Stretching is required because the physical differences among strings (length, construction) make them respond differently from the ideal; stretching in effect customizes the sound to the peculiarities of each instrument. For example, small spinets need more stretch than giant concert grands. Equal Temperament: The most popular modern model for the frequency for each note is called equal temperament. Equal temperament is designed to give the overall best sound no matter in what key a song is played. The ideal piano would be tuned with mathematically calculated frequencies that have precise intervals between notes determined by the equal temperament model (though in practice the octaves must be stretched, see above.) Many different temperaments, or schemes, have been developed through the years. Some are experimental; others deliberately favor certain musical intervals. Interestingly, composers of the classical period composed for one of several temperaments popular in their time. This chart demonstrates how far (in cents) from ideal equal temperament (straight, horizontal line at zero) the high and low octaves are stretched on a typical instrument (heavier, green line). Notice that the middle octave (4) is barely stretched, which is how we can cheat with an electronic device on the middle octave. Further note that how much an example of a real-life example (light, jaggy line) varies even from the expected stretch (heavier, green line). Even in the middle octave a professional may make small adjustments, which is why our method may be sufficient, but not ideal. A really good ear will be able to tell the difference. Stretch Chart Chart: Brian Tung, GNU Free Documentation License Pitch Raise: When left untuned a very long time, the lack of proper tension on the soundboard by the many strings may physically change the shape of the board from the original design. It does not hold tune well because the misshapen soundboard warps in irregular ways: the notes you have already worked slip back out as you work notes elsewhere. If you find this is the case for you, the remedy is a pitch raise. This is a special way of tuning the entire instrument close, but not perfectly to pitch to stabilize tension on the soundboard, then fine-tune after it settles. Pitch raises are beyond the scope of this tutorial. Common Questions How do you keep a piano from going out of tune? The primary strategy is to keep the environmental conditions as consistent as possible. Minimize changes in temperature and humidity; avoid placement near sunlight, windows, heating ducts, etc. After that, the best way to keep your piano in tune is to (surprise!) tune your piano. Once tuned, it is easier to keep it in shape with touch-ups and regularly-scheduled tunings. Dont wait until you cant stand the sound anymore. The longer strings are left untuned, the more the tension changes on the soundboard; this causes a cascade effect where more and more strings go out. The typical recommendation is to do a complete tuning twice a year, shortly after the heating and cooling seasons begin. What is missing in this technique that a professional piano tuner would do? Listening is only part of the equation. The other part is moving the lever with precision so that the results are both accurate and stable. Both listening and lever-work require training, study and practice--perhaps a hundred attempts. In this tutorial we compensate for the listening somewhat by using the electronic tuner, but we cannot replace experience, especially experience handling the lever. Another significant part of traditional aural methods that we skip is using fifths (e.g., A to D), fourths and other intervals. This requires counting beats, that is the loud points in the vibrations that two dissonant strings make. (Remember that with unisons, that is, the strings of a single note, for example, you match them so the beats disappear entirely.) In addition, a professional will know how to stretch the octaves for the best sound. A professional will be less likely to loosen pins or break strings. They may also make repairs, regulate (adjust the mechanical action of the hammers) and voice (service the wool pads on the hammers). For more questions and answers, visit our FAQ and our blog. What Comes Next More Tools The lever, a chromatic tuner, and a few wedge mutes are all you need to get started, but several additional items that can make things easier or begin to take you to regulation and repair. Temperament strip placed for setting temperament octave Temperament strip in position. This particular instrument has only two strings per key in the temperament octave; the strip is muting one string on every note to leave the other strings tunable. Most units have three strings on each note in the temperament. More Mutes of various sizes. One mute that many find essential, but we have not used in our tutorial for simplicity sake, is the temperament strip. The temperament strip is a long strip of wool felt with which you can mute many strings at once. It is used to mute all the outside strings of a section of notes so that only one string from each note can vibrate at a time. Push it between strings with a screw driver. That way you can efficiently work one string in each note without having to move rubber wedges every time you change notes. After one tunes all the single strings, tune the unisons by selectively pulling the temperament strip. Place it once, and complete the entire octave! This is actually a common professional approach, especially for setting the temperament (hence the name), though each person has preferences for when to use what mute. We start with rubber mutes in this tutorial because it is one less layer of complication for the beginner. Treble Mute Treble Mute for muting the middle string in a triad; several types are available; Papps tweezer-style pictured. The long mute pictured in the kit is a treble mute, which can be used to mute the middle string of a three-string treble. It can also mute one or two strings quickly without placing wedges. Handy for spot checking. If you would like to try repairs, youll need additional tools, such as this basic regulation tool kit. Wire, key tops and other parts and accessories are also available. Repairs and restoration are beyond the scope of this website, but check our book recommendations. For more questions and answers, see our FAQ, our blog and our comments section. Recommended Books and Links Cover of Reblitz piano tuning book To learn more, many excellent books are available. We review books most often recommended for beginners in this blog post.
Posted on: Wed, 16 Jul 2014 12:23:07 +0000
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