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You raised a step Max, sound better and definitively more robust.
Keep the good work.
BTW are the high treble hammer covered with leather ? Thanks, Isaac. I shall try to grow taller. Upper hammers not covered with leather but I do not like it's shrill sound too. I laid a strip of cloth(cotton) = 2mm in unwork(without sound) string sector, but it has not changed the sound of the high notes. I unfortunately was not able to remove the grooves on a hammers using sandpaper yet. I plan to do it. Thank you, for watching and your praise for me. I know that it is far from perfect but I will continue on Regards,Max Yes Max the strip cut in the partials and tone openness, but leave the hard attack. You can shape the treble with rough paper 80 to get a better shape it should help. I would use the glass file to finish. The hammers are may be heavily lacquered and need some needing. Thanks, Isaac. I also thought to do it. I have not worked with the action this Grand. I guess all hammers must be sanded because grooves here. Thank your for advice
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Sounds as Bach to "digit" or the upright piano is not the essence of this movie. One performer, different musical instruments, classical music. Tastes differ. The idea of the film to convey for a simple layman and professional musicians that music great genius survived the centuries. Bach is very much "alive", even if it is a digital piano "Yamaha" I believe that it successfully managed Nastya. Nastya is very young girl pianist (Uralsk) is the holder of a silver medal awarded to her at Young Republican competition piano Kazakhstan. The contest was held in end March 2013 Pavlodar city Upright piano "Rosler" on which plays Nastya most of "his life" was in a state of neglect. In the room where it was stored was damp, no heating more than 3 years. Max did everything I could. But can we talk about the quality of the temperament of this acustic piano? http://youtu.be/y5B8xS_KtkA
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Vast improvement, Max. Quite heart warming.
Amanda Reckonwith
Concert & Recording tuner-tech, London, England.
"in theory, practice and theory are the same thing. In practice, they're not." - Lawrence P. 'Yogi' Berra.
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Vast improvement, Max. Quite heart warming. Dear, rxd. If you knew how I waited hear this words. But I knew that "legs feed the wolf," so every day I had trained at tuning. It was difficult. Was afraid that I don't have progress. But I could not quit doing it. I knew to I have no moral right loose yours trust. Because you many made for me. 2013 year went to the Max nor empty, because there are rxd's message .rxd,thank you to believing in me. Regards, yours Max http://youtu.be/SYQ0gns5sxo
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Showing improvement. Keep up the good progress, Max. Thanks,Bob I shall try Regards,yours Max
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Upright piano "RIGA" (1970- 75) Max's tuning, is it tuning better? This piano never tuning and no regulation an action. Many hammers had not very ride. A head's hammer had groove in a felt. Max did all and again did a tuning. Good pleasure in time a looking a clip http://youtu.be/IZUlnA6j8TQ
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Two steps forward, three steps back.
Don't worry, this happens in the learning process, it helps to be aware, though.
Concentrate on unisons and lever technique.
Amanda Reckonwith
Concert & Recording tuner-tech, London, England.
"in theory, practice and theory are the same thing. In practice, they're not." - Lawrence P. 'Yogi' Berra.
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Two steps forward, three steps back.
Don't worry, this happens in the learning process, it helps to be aware, though.
Concentrate on unisons and lever technique. Dear, rxd. Here I had to work more with T-bar because it is very tight pins. It was the hardest, "RIGA" in my life lately.It's stood without service for more than forty years. For me anyway is a great honor for your appreciation of my tunings "about steps" (3-2) = 1!No a despair. Max goes uphill again, because do not have rights lose confidence his London's curator. Please see with 18 minutes this film. http://youtu.be/e4mvEj4ldpo
Last edited by Maximillyan; 12/23/13 10:26 AM.
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Good morning, Max.
Thank you for the video.
A couple of weeks ago you posted two recital performances: one (I think) on a Blüthner that you tuned, and another on (I think) a Yamaha that someone else tuned. You asked us to compare the two tunings. I cannot find where you posted these, but it seems like you wrote in the post that the Yamaha, to your ear, sounded either dead or lifeless when compared to the Blüthner.
Although the Yamaha recording was not the best quality, it was clear that its unisons were mostly clean whereas the Blüthner unisons were not.
So, I am wondering: Are you intentionally tuning one string in each of the unisons slightly flat or sharp of the other(s) to produce a "wave" or "beat" in order to make the unison sound more "lively"?
Many years ago, certain piano technicians wrote articles promoting this as a technique. Not that you have necessarily read these, but I am curious if you are trying to tune the unisons a little "unclean" to give these a little more "life"?
Last edited by bkw58; 12/23/13 11:14 AM. Reason: clarity
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Good morning, Max.
Thank you for the video.
A couple of weeks ago you posted two recital performances: one (I think) on a Blüthner that you tuned, and another on (I think) a Yamaha that someone else tuned. You asked us to compare the two tunings. I cannot find where you posted these, but it seems like you wrote in the post that the Yamaha, to your ear, sounded either dead or lifeless when compared to the Blüthner.
Although the Yamaha recording was not the best quality, it was clear that its unisons were mostly clean whereas the Blüthner unisons were not.
So, I am wondering: Are you intentionally tuning one string in each of the unisons slightly flat or sharp of the other(s) to produce a "wave" or "beat" in order to make the unison sound more "lively"?
Many years ago, certain piano technicians wrote articles promoting this as a technique. Not that you have necessarily read these, but I am curious if you are trying to tune the unisons a little "unclean" to give these a little more "life"?
Thank you for your message ,Bob. I am pleased that seen my movie. Everything you wrote is clearly true. I tuning only Bluthner with "live" as you wrote unison. Yamaha in town Pavlodar made metropolitan tuner tuned " which I wrote to the ear, sounded dead or lifeless compared to Bluthner". I was not trying to do good correct unisons without "wave" or "beat" , but it turned in the final work it's. One of the strings I really do little sharp (upper) , but not enough. The grand piano played a lot before the contest kids and it's a little loose it's tone. I now always will strive to clean unison and made it's ideal . But I know that if the strings have the spirit of the accordion - it is livelier than pure medieval clavichord .( joke) Regards, Max
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Thanks, Max.
I follow you (I think.)
The techs who advocated the technique actually aimed for just a little "wave" in the unison, again, to give it more "life." I suspect that most techs never bought into this. A unison that is not clean is really no unison at all: uni meaning one; unison signifying of one sound.
Echoing rxd's advice: Honing good hammer technique and creating clean, stable unisons isn't easy, but in the end, it makes the difference between a mediocre tuner and great one. Both skills are an integral part of the art of what we do.
Best wishes for the new year, Max.
Last edited by bkw58; 12/23/13 12:41 PM. Reason: typos
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Thanks, Max.
I follow you (I think.)
The techs who advocated the technique actually aimed for just a little "wave" in the unison, again, to give it more "life." I suspect that most techs never bought into this. A unison that is not clean is really no unison at all: uni meaning one; unison signifying of one sound.
Echoing rxd's advice: Honing good hammer technique and creating clean, stable unisons isn't easy, but in the end, it makes the difference between a mediocre tuner and great one. Both skills are an integral part of the art of what we do.
Best wishes for the new year, Max. Bob is a great honor for I'm. If you follow me. Although the "unison" is Latin for "one", but there is no two like of water droplets in a nature . Therefore, small mutations unison I shall still admit. But this should not be a law. And make it's every days for any pianos always Bob and rxd is my main teachers. I have to listen to their advice and follow it's if I'm think they are right. To will all good, Bob in the New Year! Best wishes too
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Concentrate on unisons and lever technique.
I'm think it's most important for Max today Regards,
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It is impossible to critique your temperment. Put together a video of you actually setting the temperment.
Making the world a better sounding place, one piano at a time...
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It is impossible to critique your temperment. Put together a video of you actually setting the temperment. Sorry but I have this video only
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Put together a video of you actually setting the temperment. Is there no temperment also? http://youtu.be/ahAu-4ZSnwc
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Dear technicians, do your strictly verdict for Max's temperament, please http://youtu.be/y5txSA4hT1Y
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This shows the greatest improvement thus far, Max. Looks like you took rxd's advice and have been working toward cleaner unisons. I detect a few beating unisons -mostly in the high treble. Keep working on these. Great progress, Max.
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This shows the greatest improvement thus far, Max. Looks like you took rxd's advice and have been working toward cleaner unisons. I detect a few beating unisons -mostly in the high treble. Keep working on these. Great progress, Max. Thank,Bob. I am very happy that I have a motion Regards, Max
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Sounds beautiful. Did he play it transposed to A minor or did you tune at A=415? Kees
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