June 2019

Bedford Convention IssueReports from all the Classes

Honorary Life Member Bill Kreis Europiano Magazine

Silent Auction Martin Backhouse PTA Librarian

Exhibitor Kawai UK Ltd Exhibitor Coach House Pianos

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Editorial — 4President Writes — 5Membership News — 7Steinway Instrument Preparation — 8How to Pass the PTA Test — 10

Practical Tuning — 11

Upright Regulation — 12Grand Regulation — 15

PTA Finances — 16

PTA Training Day, Polyester Clinic — 17

Europiano General Meeting — 18

Sound & Performance of the Piano — 20Upright Preparation — 21

The Integrated Approach to Tuning in the 21st C — 22Pain in the Neck, Pain in the Back — 24

Convention Overview — 26Letters to the Editor — 28

Council Report — 30PTA Diary of Events — 31

The next deadline for PTA News is: Friday 26th July 2019.PTA News is the Newsletter of the Pianoforte Tuners’ Association. All views expressed are

those of the contributors, not necessarily reflecting those of the PTA or the editorial team.Please send items for publication to ‘The Editor’, preferably via email with photographs sent

separately from the text. Posted items can only be returned if accompanied by an SAE.Please obtain the necessary permission before submitting copyright items.

PTA News, 49 South Hamilton Street, KILMARNOCK KA1 2DTEmail: ptanews@pianotuner.org.uk

To advertise in PTA News, at very reasonable rates, please contact:Tania Staite, Tel: 020 8677 4422

Flat 8, Deepdene, 15 Streatham Common Northside, London SW16 3HQEmail: advertising@pianotuner.org.uk

CONTENTS

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Five years have passed since I first started producingNewsletters for the PTA — how that time has flown by!Thank you to everyone who has contributed. We have had somevery interesting articles and photographs in this time and I hope that you arecontinuing to enjoy this part of your PTA subscription. You may not be awarethat there are others who help with the Newsletter whom I’d like to mentionand thank now. Thank you to: Bill Kreis (our proof reader), Tania Staite (whoreads the Newsletters, transfers the text to CD and posts CDs to partially-sighted Members), Roger Holden and Excel Print (who print the booklets) andfinally to the advertisers who support this publication.

We have reports from all the classes at the recent Convention in Bedfordand it is particularly delightful to have articles from some first-timecontributors. Thank you to Andrew Jamieson for all the photographs he sentme of the Bedford Convention and for all those that he has taken and suppliedover the years. It makes the Newsletter come alive when articles have goodquality photos accompanying them. Thank you to Roberta for photographs onp.6 of the Pucket competition; winner Sue Vernon and runner-up, Neil Sale.

The PTA is a Member of Europiano and Brian Frost attends their Meetingson the PTA’s behalf. Brian would like to encourage more Members to read theEuropiano magazine, particularly as most of it is now translated into Englishsee p.18.

This is the first issue that I’ve made that doesn’t contain the AGM Minutesor the President’s Report as this will be emailed or posted to the PTAMembership. If anyone has any comments about this, they can be raised eitherwith the President directly or as usual via a letter to the PTA Editor.

The article about extending the range of the piano will continue in theAugust Newsletter. Please send in your contributions for the Quick Tipssection — to be written by Members for the Membership.

J Broadwood & Sons Ltd are sponsoring a number of recitals (June, July,September, October) to commemorate the 100th anniversary of the first publicperformance of The Planets including a concert at St Paul’s School on Holst’sbirthday, 21 September which will feature the piano duet version performed onthe very same Broadwood instrument used in the piece’s creation 100 yearsago. For further details phone 07770 772233.Finally I bring to your attention the PTA Training Day Polyester Clinic at theCaradines’ workshop in Suffolk on Saturday 22 June. A booking form isinserted in this issue; details also on p. 17.

EDITORIALANNE BURTON

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THE PRESIDENT WRITESBARRY CARADINE

I am writing this upon my return from our Convention atThe Sharnbrook Hotel, Bedford. An ideal venue with superbhelpful staff, superb restaurant with an Italian flair, a bar with a real aleespecially put on for us, and not forgetting the excellent classes and, of course,the excellent company. A Convention that will be remembered as one of thebest. I hope you were there. Even though she is my wife I cannot fail to thankRoberta for the enormous amount of work that she has done to make this eventpossible as well as Annette who has assisted her along the way. Guess what, itwas so good for the first time ever we’re returning next year! I urge you all tostart planning and try to attend. It costs less than 1 tuning a month to do so andyou gain so much from it.

I found the Convention most interesting from a personal point of view.Upon hearing your views and opinions I realise that I am wrong. Attempting torun the PTA as it has always been run is not compatible with modern life.Therefore, I have to ask, “Has the Executive Council had its day?” Despite mybest efforts it continues to shrink but still continues to attempt to do all of thework. This is not sustainable, so my conclusion is, “Yes, EC has had its day.”I always thought healthy debate over problems and ideas was a good thing andthis was done at Executive Council, but debate and discussion at Conventionseems to be working better. This year it was most refreshing to hear theopinion of all that were amongst us, Members, Students, Apprentices andAssociates. And the fact that many felt enthusiastic enough to speak up and tellus their thoughts. I am sure that their input had a big influence on the ruleschanges that subsequently took place.

This then leads to the question, “How should our Association be organisedand run?” Perhaps another question for debate? If you have an opinion, pleasecontact me as I am interested to know what you think. But one thing is clear, alarge standing committee is a thing of the past.

At the Convention several offers of help for an hour of two per week weregiven and many indicated a direct request with a specific task was what theywanted. Therefore, I will do my best to organise things in such a way thatthese kind offers can be taken up. If you did offer and you don’t hear from me,or even if you did not offer but would like to help in this way, give me a prod!Between now and the next Executive Council meeting at the end of July I amgoing to spend time deciding the best way for us to move this forward. I havesaid it before and I have to say it again. If you have a particular set of skills, aprevious career, or maybe just an interest where you might be able to help the

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We supply B2B to self-employed piano and musical instrument technicians,repair workshops and manufacturers of upright and grand pianos, as well asspecialized piano and music shops.We also supply historical keyboard manufacturers, workshops andmanufacturers of instrument strings.

PTA for just a few hours a month please let me know. Even if we can producea list of “specialisms” we can call upon when needed it would be most useful.This is particularly important in areas where we are lacking expertise such associal media, IT and marketing.

I look forward to hearing from you. I can always be contacted via email onbarry.caradine@pianotuner.org

Barry CaradinePTA President

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MEMBERSHIP NEWSANNETTE SUMMERSPlease note these changes to the 2017/2018 Yearbook:

1151 Mrs M Bailey has moved to Ulverston. (Mobile telephone and email address remain the same but now no landline)A78 Mr H Smith (new address; mobile and email remain the same)

58 KingswaySelseyCHICHESTERPO20 0SY

We welcome new PTA Student:S1431 Mr William H Marriott 16 Nethergreen Road SHEFFIELD S11 7EJ

Please send all changes of address, telephone and email to The Secretaryusing the contact details on Page 31.

Kawai UK Ltd

Tania Staite and Dan Rusling

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STEINWAY INSTRUMENT PREPARATIONULRICH GERHARTZSPONSORED BY STEINWAY & SONSREPORT BY DAVID MCCULLOCH

When the PTA Newsletter and Convention leafletarrived through the letterbox, I started looking through theclass list and immediately spotted the class due to be given byUlrich Gerhartz.

Having heard the name on many occasions I really wanted to put a face tothe name and learn as much as I could from this opportunity. As is the casewith a few of us, we sometimes leave the signing up until the last minute,but not this time — my form was returned as soon as possible.The day finally arrived and several of us set off for the Convention where wewere able to catch up with some old and some new faces.

The class started with an overview of how Ulrich became involved withpianos and then on to Steinway.

We then looked at a Steinway model D which had been used in a recordingstudio. Several people tried the piano out to see what they determined wasneeded to be bring it back up to its full potential. Ulrich had spent the earlypart of the morning, before the class had assembled, analyzing the piano to beable to give his verdict on its condition. With the class now assembled aroundthe piano work started on stripping down, inspecting and adjusting the actionand keys.

The morning passed quickly with lots of insights and tips being given ondifferent aspects and problems encountered by both tuners and technicians asthe keys and action were worked on, then lunch was called but nobody seemedto be in a hurry to leave the room. Ulrich himself never left the room butworked through lunch to prepare the piano for the next stage, some coffee wasadministered and when the class returned the action was nearly ready to goback into the piano, a few last tweaks on levelling the hammers and it wasback in the piano.

The next stage was fine regulation in the piano and hammer toning,(a subject which has a lot of different opinions and techniques written about it).Ulrich pulled a small adjuster tool out of his tool kit which immediately caughtmy attention. I had exactly the same tool which I had received in a recentlypurchased tool kit and only had a vague idea what it was used for so themystery was finally over. I often wonder how many “unique” or handmadetools are stored in people’s tool kits which have a very specific purpose andcome up for sale as part of a job lot etc. the function of which is only known to

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its maker? (I know I have at least ten such tools or aids in my own tool kitwhich I have made for a specific piano or task).

The toning and importantly, the fitting of the hammers was completed,a few last adjustments and then we moved on to the servicing of the lyre.Ulrich showed us how the unit came apart and which parts can be serviced andwhich can’t, with the improvements in technology and materials, most of therod and pedal connections are now maintenance free. We also learnt a fewtechniques for refitting the lyre if you are on your own; often a rather trickytask ending up with one wishing they were an octopus to get everything inplace at the same time!

With the session ending, the piano was reassessed by the attendees who hadtried the piano in the morning, with a thumbs up all round. I think I can speakfor everyone in the class in thanking Ulrich and David Widdicombe fromSteinway for the time and effort in putting the class together and the insightsgiven, and for finally being able to meet and put a face to the name.

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HOW TO PASS THE PTA TESTANDREW JAMIESONREPORT BY DOUGLAS MCBAY

This class attracted ten attendees who heard a fullycomprehensive delivery of what is required for the PTA Test.The speaker was Andrew Jamieson (Hon MPTA) a Test examiner andcoordinator of many years’ experience.

Andrew outlined his delivery in two basic parts — tuning and the sort ofeveryday repairs one would find in one’s every day work and alwaysunderlining the high standard required. He also dealt with adequate practiceand preparation for aspirants for the Test and outlined that a pass mark in eachsection has to be achieved in order to obtain an overall pass and to be able toappend the coveted qualification MPTA at the end of it all.

Without any suggestion of lowering of standards, Andrew further spoke ofthe wish of the examiners to be on the side of the candidate and help as muchas possible to make the experience both enjoyable and constructive.

It is often said that musical composition is five percent inspiration andninety five percent perspiration. This class provided one hundred percentinspiration, and because of this, it is hoped that Annette will receive a flood ofapplications to take the Test.

In conclusion, Andrew is to be thanked for his valuable contribution to the2019 Convention.

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PRACTICAL TUNINGBRIAN FROSTREPORT BY PAUL SHERMAN

This was a very informative class, with the majority ofattendees currently studying or just finishing their trainingcourses. As with all piano classes at PTA Conventions, there is always more tolearn and also the nature of the class allowed for the more experienced tunersto contribute their own knowledge and experience.

The class started with an overview of tuning styles – which hand, what styleof lever, ETD/ aural or hybrid methods. As we discussed achieving a stabletuning technique, we were also able to experiment with a jig made byKen Forrest, which demonstrated the difference between twisting a pin andturning it and the implications for both.

Brian moved on to discussing the scale, beat rates and the various checksthat can be used up and down the piano. Many of these were new to studentsas was octave stretching. Setting the appropriate pitch and dealing with thechallenges of tuning on a cruise ship were other areas of insight andexperience that Brian was able to share with the group. This class was reallywell put together and enjoyed by all. Thank you Brian.

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UPRIGHT REGULATIONDAVID MARTIN,SPONSORED BY PIANOFORTE MARWOODREPORT BY SOL LORETO-MILLER

I was very much looking forward to attending this classas, at the only other Convention I’ve been able to attend, the regulation classeswere booked up. David certainly did not disappoint and I came away with myhead buzzing!

The first half of the class was theoretical and David helpfully supplied us allwith copies of technical drawings (which he was generous enough to let uskeep). These aided immensely in our understanding of his presentation.

David’s knowledge of action geometry is immense and it was eye-openingto hear him drawing on this knowledge to provide valuable insight into thetheory — not, as he explained to us, with the expectation that we would usemuch of this theory in our everyday work, but in order to teach us respect forthe instrument and give us a better understanding.

He stressed the importance of the rake angle on the hammers (the angle ofthe hammer in relation to the hammer shank) and explained that the arc ofmotion of a hammer on an upright action should never extend further forwardthan vertical, so that it falls back under its own momentum and does not get

“stuck” — therefore, the rake angle should be at slightly less than 90° tocompensate for this and to ensure that the hammer is at 90° to the string at thepoint of striking.

Another interesting anecdote related to capstans. David explained to us thatif the capstan is closer to the player it lightens the touch, and that a fewmanufacturers bring the capstans closer to the player in the bass only tocompensate for the heavier bass hammers — a compromise as it results in alighter bass, but also in an uneven depth of touch throughout the keyboard.In the practical, he noted that this effect can be inadvertently produced whenthe wires on dolly pilots are bent.

David’s presentation also discussed friction in actions. He drew a frictionline and demonstrated to us how parts would move smoothly on one side ofthe line and less smoothly on the other. I confess that much of this went overmy head as at this point my brain was overtired from processing all of theother interesting information, but it was great to have the concept andterminology touched upon in case one should wish to research it further.

We took a much needed tea break, and then in the second half of the classproceeded with practical regulation. It was extremely useful to have an action

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model for each participant, and David was fantastic at going roundindividually, explaining concepts and helping to troubleshoot problems.

I was particularly interested to learn his method for regulating the capstans,as I only knew the method that involves pressing or stroking the key to checkfor lost motion. David’s method involves deliberately winding the capstanslightly too high so that the hammer assembly is resting on the jack, and thenwinding it down while pressing and releasing the back of the jack to judge thefriction of the jack going back under the notch. (He had earlier explained in thetheoretical half of the class that there should be a cigarette-paper’s thicknessbetween the jack and the notch.)

Throughout the class David was excellent at delivering information slowlyand clearly, and he left plenty of gaps between concepts for (very necessary onmy part!) processing time and questions. As a student I found this pacebrilliant and it helped me understand much more than I think I otherwisewould have.

From speaking to others in the class, the content seemed valuable totechnicians at all levels — I heard that someone had attended the class formore than five years running and found new insight and understandingeach time.

A truly excellent class which, in the first two hours alone, gave me the firstof many reasons to find attending the Convention more than worthwhile.Many thanks to David Martin and I hope he will be able to return to deliverfuture classes!

Photographs above are from the grand regulation class; report on p. 15.

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GRAND REGULATIONDAVID MARTINREPORT BY WILLIAM CATTERSON

If there is a chance for me to enrol on uprightand/or grand regulation classes at the annual Convention,I will always go for it. As a tuner, I just never get enoughpractice at action regulating. I have attended quite a few action regulationclasses within the ten years plus since I started coming to the Conventions.Anyway, seeing from the prospectus there were two classes, one grand andone upright on offer, headed by David Martin, I made a point of enrolling forboth classes.

At the start of the Grand Regulation class, we were shown on the screen amodern action with butterfly springs. We were also shown printout drawingsof the Simplex action, not much liked by tuners because of its crudeness, thewell-tried Schwander type action with single spring and loop, and of coursethe modern butterfly spring action as favoured by most action manufacturersnowadays. Incidentally, I remember on one past occasion David saying thatthe butterfly jack spring is more dynamic than the spring and looparrangement one time favoured by British and European manufacturers.Seeing these large printouts in A2 size reminded me of technical drawingclasses back in my schooldays! All that information, such as about angles ofhammers to shanks: 91 or 92 degrees, I found so useful. Whilst it is notessential to know all about geometric figures, it does increase one’s awarenessabout action design.

For the second half of the class, the hands-on part, we wouldmethodically go through different stages of regulation and were given a modeleach. This was basically a modern Renner action. Each one had a neat woodencover. I have to say that the models were in surprisingly good condition.Mine hardly needed regulating! Nevertheless, the essence of it all is practiceand David was there to help us at every stage.

I would say we all benefitted greatly from David’s expertise andprovided I don’t retire too soon I might well be coming back once more!Thank you David.

DEADLINE FOR PTAN ARTICLES: FRIDAY 26th July 2019

Please email articles, letters and photos to: ptanews@pianotuner.org.uk orpost them to the address on page 3. Please email photographs and textseparately. Photographs within documents generally are not of a sufficientlyhigh enough quality for the print process.

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PTA FINANCESANNETTE SUMMERS

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PTA Training, in conjunction with Caradine Pianos, BCPG Ltd., present aPolyester Clinic to be held on Saturday 22nd June, 2019 from 10am to 5pm atUnit 1, Crestland Works, Bull Lane Industrial Estate, Acton, Sudbury, SuffolkCO10 0BD

The proposed programme includes: Arrival and coffee at 10am followed bya quick tour/orientation of the workshop. There will be an introduction topolyester, the products and their application and a hands-on session ofpreparation for polyester repair and repair application. After lunch in theworkshop (à la JSP sushi and sandwiches), cutting back morning repairs,sanding and buffing. Following the tea break there will be Q & A withadditional practice time ending at 5pm.

Only 20 places are available for this day and applications should be sent tothe PTA Secretary by 14 June 2019.

Further details are on the Booking Form in this Newsletter.

PTA TRAINING DAY, POLYESTER CLINIC

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EUROPIANOGENERAL MEETING REPORTBY BRIAN FROST

Gunter Schaible, Europiano President, reported thatmore Europiano (EP) Degree exams were planned in the nearfuture. He also reported that students from the German piano technologycourse in Ludwigsburg had put on a live demonstration of their skills at the EPstand at the annual Frankfurt Music Messe.

The new EP Secretary was announcedat the Meeting as Monika Pfaff whounfortunately was unable to attend theMeeting. It is hoped Monika will beformally introduced at the DelegatesMeeting in November.

There was a request that allAssociations should send a regular list ofplanned training events for publication

on the EP website.The Treasurer reported that the

finances of EP are in a healthy state.All Associations had paid their annualsubscription on time. In 2018 incomeincreased by 530 Euros and costsdecreased by 1820 Euros leaving asurplus of 2350 Euros. Following thesuccessful Congress in Italy last year500 Euros were paid back to EP enabling the Treasurer to set aside money forthe 2021 Congress in Warsaw. It was also reported that the new arrangementfor producing the magazine is working well and reducing costs.

The Swedish Association reported that it had changed its rules so thatapplicants no longer have to wait three years after they have qualified to applyfor Membership. The Association felt they were losing touch with too manynewly qualified technicians who did not go on to apply for Membership.

The Lithuanian Association submitted a written report stating that UK PTAMember Ken Forrest had recently given a class on voicing to their Members inLithuania.

The Spanish Association reported that planning for the EP DelegatesMeeting in Segovia, November 8th & 9th 2019, has begun. They hope to hold

Music Fair

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a training seminar on the Friday to give an opportunity for EP Delegates tomeet members from the Spanish Association. The Delegates Meeting andworking groups will be held on Saturday morning. After the Meeting there willbe a visit to the castle, gardens and old town followed bydinner in the evening.

The Polish Association reported that the planning forthe 2021 EP Congress in Warsaw is already underway.The date was announced as May 20th–24th 2021. Theyare looking into 3 possible locations with the pricevarying from 700 to 850 Euros for the four day Congress.There will be a partner program.

Elections were held for the vacant position of Vice-President as Gabriele di Nallo has stood down afterserving 8 years. There are three Vice-Presidents on the EPBoard. Two are elected one year and one the followingyear. The term served by a vice-president is two years.There were two candidates – one from Poland, TomaszWalczak, and one from Italy, Gessica Monticone Piatino.

Gessica Monticone Piatino was elected.

It was reported that the number ofsubscribers for the EP Magazine hasincreased with new ones beingregistered from both the UK andRussia. If you are not at present asubscriber, do give it some seriousthought as English is now thedominant language in the magazineand it does have some very goodtechnical articles. PTA SecretaryAnnette Summers has all the details.

Tomasz Walczak

Gessica Monticone Piatino

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SOUND AND PERFORMANCEOF THE PIANOJOHN PAUL WILLIAMSSPONSORED BY GSMDREPORT BY CRAIG LOWE

JP is in charge of looking after 140 pianos at The Guildhall School ofMusic & Drama in London aided by his colleague Patrick Symes. The pianosare subjected to a punishing schedule of 18 hours a day 363 days a year.This includes not only the day-to-day teaching and practice but also manyauditions recordings and recitals, all which require the pianos to be in firstclass order. JP explained how little time is allowed to do his job, which meanshaving to plan the maintenance schedule around when the pianos are in useand almost second guess wear and tear problems before they become apparent.JP gave his tips on how to rebush keys so that easing was kept to an absoluteminimum, how to recentre for the best results for the pianist, and what centrepins he considers give the most reliable results. Several times it was mentionedhow important detailed regulation of the una-corda mechanism is to the overallquality of the sound and feel of the whole instrument... all that in just themorning session.

After lunch JP moved on to the process of Tone Building. “Accurate,consistent and stable regulation techniques are the basis for a full, solid andreliable piano tone”. We were informed of the need for detailed regulation toensure the piano performs to the best of its ability.

At many points in the lecture we were shown a video (filmed at 2,000frames per second) of a very slow motion one note action being played.Each time JP asked us to focus on a different part of the action to see whatstresses that the action was under during playing.

This was a very well-thought-out class that obviously took many hours toprepare. JP displays great enthusiasm for his work and is always looking forbetter ways to ensure that he is able to keep the pianos in an A1 condition forthe pianists who play them, who, after all, are the most important aspect of hiswork. This was a thoroughly informative and enjoyable class. Thanks JP!

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UPRIGHT PREPARATIONNIGEL WALKERSPONSORED BY KAWAI UK LTDREPORT BY ALASDAIR RUSSELL

I was unsure of what the content of this class would befrom the title, but my curiosity was amply rewarded in whatproved to be, for all of us attending, a most beneficial occasion.

Nigel, ably supported by James, soon put us through our paces in the fineshaping of hammerheads and how this affects the tone. All three strings mustsound the same. The hammer is held lightly against the strings while depressingthe sustain pedal and each string plucked. Any “leakages” i.e. increased volumealong with a slightly raised pitch can be dealt with by applying a narrow strip ofsandpaper to straighten the nose profile at the point of contact.

Our next hands on experience was in voicing the hammerheads. Using threeprongs with 5 gauge needles was recommended, reducing to two prongs if thefelt is difficult to penetrate. At the nose end, just back from the point of contact,softens the tone while coming in from the rear at the staple end produces abrighter sound. At first try up to 3 stabs if the action is in situ. If a morepronounced effect is required remove the action and the same to the underside.It is possible to adjust the action bolt down at the right hand side if the hammersat the upper treble are striking near the bridge.

Finally, we were introduced to the KAWAI ATX piano. The acoustic pianohas to work first and the regulation has to be exact. The pianos acoustic anddigital brains both work in symmetry. We were shown how to disconnect thesensors: how they hinge down. This leaves the piano accessible in the normalway (taking photos will help in reassembling!).

This hybrid arrangement has given new life to acoustic pianos and has gonebeyond its original development as a silent practice piano. A big thanks to Nigeland input from James and Neil for this most interesting class which I hope willbe repeated in the future: and thanks for your desire to be available to givetechnical help (the handouts are excellent).

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THE INTEGRATED APPROACHTUNING IN THE 21ST CSTEVEN DROYREPORT BY NIGEL POLMEARSPONSOR, THE PIANO TECHNOLOGY SCHOOL

This class was in presentation and discussion format based on the work ofMr Rick Baldassin RPT author of the book ‘On Pitch, the Integration and

Equation of Aural and Electronic Tuning Techniques’ withaccompanying DVDs.

Steve started off his class by asking everyone what methodthey used for tuning; aural or electronic. Some were purelyaural and some mostly electronic and others a bit of both.He then talked about the counterbalancing strengths andweaknesses of both methods but was mostly on the ETDs.

On the plus side for example with a pitch raise, the softwaretells you how much over- pull is required. This it does veryaccurately as it calculates the loading on the bridge and down

bearing the software is predicting so you get a ‘bespoke stretch’. ETDs aregood for noisy environments and great for tuning two pianos together. Certaintypes can be downloaded into a phone — so portable. The more expensivemakes are more graphic. They’re less fatiguing; no intervals just one note at atime! The software has the ability to analyse (you can save ears on brightChinese pianos!).

On the down side ETDs are rather inflexible, especially for concert‘creative work’ in a given time frame. They maybe a bit one dimensional;you have to go from top to bottom etc. and it doesn’t give you many options.This includes tuning unisons, as aurally they can be blended and mixed in.

However, making the right choices so that the piano sounds at its best iswhat it’s all about and this is where the ‘Integrated Approach’ comes intoits own.

By allowing the software to teach, you can tune by ear and then see whatthe software thinks; use the software as a guide. Or tune by software to get abetter understanding of the equal temperament and what to listen for in theintervals aurally.

Steve explained Mr Baldassin’s attempt to bridge the gap between the twoapproaches via Mr Baldassin’s book, (we were given printed handouts ofrelevant sections) and by showing us two of the accompanying DVDs.The subject is tuning theory.

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Charts (diagrams) were shown (via the DVDs) of sections of a keyboardof a 3 or 4 octave span. The charts are used to illustrate the location of thecoincident partials for equal temperament tuning intervals (say, a fourth whichcoincides with a 4:3 ratio). On the DVD along with a spoken voice,(Mr Baldassin’s?) when a particular interval is played, its coincident partialappears as a kind of animated coloured dot on the relevant key with anelectronic sound of its pitch. There is an explanation also as to how to set theelectronic aid to find them. This can also be done aurally by striking thecoincident partial note with a blow and listening for the note that remains afterplaying the interval.

Mr Baldassin’s work goes into great detail on this complex subject and(in my opinion) it requires a lot of time and patience.

Steve demonstrated on a Yamaha upright what the visual display lookedlike on a particular type of ETD used. The signal displayed could besomething like a series of oblongs (brick shapes) going across the screen at abrisk pace that slowed down (left to right = sharp or flat) coming to a stopwhen the pitch is correct or ascending or descending mountain peaks or evena kind of spiralling flowering circle! (Verituner, TuneLab, ReyburnCyberTuner, whatever!!)

This was a very interesting class and I’ve only really scratched the surfacein trying to describe things. There was a lot to take in, in a three hour class(without the other two DVDs!). Mr Baldassin’s work is both exhaustive andexhausting! However, it really is in the here and now of the 21stcentury. Many thanks to Steve for pulling all the strands together and makingthis a great class.

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PAIN IN THE NECK,PAIN IN THE BACKMARTIN BACKHOUSEREPORT BY LORRAINE BOLGER

I recently bought a tuning round which had several dropand reverse actions on the customer list. Having tuned one of these beastsbefore Christmas, I thought I should attend Martin’s class about these veryquirky pianos. Martin’s class was very helpful because I found out so muchabout the different types of mini piano, their foibles and how to tackle jobs thatI would’ve been happy to avoid.

We started with a small history of the piano industry from 1920 to 1935,describing how numbers of pianos produced were falling due to the popularityof gramophones and radios being purchased. We looked at the development ofthe mini piano and its inexpensiveness compared to full size pianos. E.g. aBroadwood piano purchased in 1905 cost the equivalent of £57.35 (2010prices) while in 1935, thirty years later, the Ritz mini piano cost just £36.98,with the actual cost to the trade of £15 pounds, (again 2010 pricing).

It makes it less of a mystery that such a “poor” piano (as far as tuning andmaintenance is concerned), was so popular. Percy Brasted, (Eavestaff minipianos) was pushing sales and produced 305 pianos per week in 1935.Brasted had a furniture factory next door to the piano factory, so was able toproduce a large quantity of cases. The cases were stylish using light woodveneers, some were embellished with chrome plating to mark the silver jubileeof King George V in 1935.

The mini piano was in its heyday; you could choose the colour and finish asdesired, a bespoke instrument. It was so popular, police were called to a shopto control the crowds outside waiting to order their piano. Post war, a lot ofpeople lived in flats and terraced housing, the mini piano was compact andalso a lot quieter because of the string length and encased action.Most soundboards were at the front of the piano, directing the sound into theroom, rather than against the adjoining neighbour’s wall.

The afternoon session was dedicated todismantling the action from the casework, oftena task in itself trying to find the concealed screws!The class were invited to ‘have a go’ at taking thepiano apart (we had two varieties) an EavestaffMini Royale, with the soundboard at the front;it was a very attractive shade of emerald greenand an Amylette, with the soundboard at the back.

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The Amylette, belonging to Andrew Giller, had once belonged to the cartoonist“Giles”. There was photographic provenance with the piano showing thecelebrity at the piano with other celebrated friends and musicians.

We had a practical demonstration of how to retrieve lost tools from theaction and the difficulties of separating the action from the casework in somepianos because of the keys being tied, creating a jumble of wires rather like abag of assorted knitting needles. For health and safety enthusiasts, care shouldbe taken when the action is removed from the casework because the pianobecomes very unsteady with no weight to counterbalance the frame.Martin’s advice was to stand it against a wall to prevent it falling overbackwards and causing damage or injury.

All in all, this was a very interesting and informative class which allowedus to see why these types of piano had been designed and the problems theycause to the tuner. One particular problem and a very substantial problem,is the inability to get a very good tuning due to the inaccessibility of the strings.I would highly recommend attending this class if it is offered again. From mypoint of view, I feel less intimidated by the prospect of tuning a drop actionor a reverse action and to know my own limitations.

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CONVENTION OVERVIEWREPORT BY ROBERTA CARADINE

Traditionally this edition of PTA News contains classwrite-ups and photographs from the recent Convention.However, I thought maybe this year as Convention Organiser, I shouldinclude a few facts and figures, smattered with thanks to lecturers, exhibitorsand attendees.

In total 93 Delegates attended the event, with Thursday evening being thebusiest for the hotel whilst a couple of local Members joined us at the bar inthe evening and at the AGM. Our low key, guest of honour was none otherthan Bill Kreis. We were delighted that we were able to encourage him to joinus and his leather skiver and Bechstein screw driver caused much excitementon Friday evening.

Class A – Thanks must go to Ulrich Gerhartz, Director of Concert Artists,David Widdicombe and to Steinway & Sons for their generous support. 15attended this well-received ‘Members Only’ class. Feedback included: “lovedthe masterclass”, “excellent class”, “superb” … Thanks to Shaun McLoughlinfor introducing the class.

Class B – Thanks must go to Andrew Jamieson. Once again, in this freeclass, he helped dispel the myths about the PTA Membership Test. Grumblesabout the warmth of the room were overshadowed by the very positivereaction. Feedback included: “very good”, “very clear and helpful”, “thankyou” … Thanks to Douglas McBay for introducing this class.

Class C – Thanks must go to Brian Frost. With requests for more tuning-based classes, this class proved to be well-received. 16 Delegates attendedeven though it was aimed at tuning basics. Feedback included: “wonderful topick up some extra knowledge”, “will be more confident than before”, “thankyou very much”, “very helpful, this class was overdue”, “very interesting anduseful”, “engaging speaker with lots of ideas” … Thanks to Paul Sherman forintroducing this class.

Classes D & E – Thanks must go to David Martin. Once again, theseclasses were over subscribed with more attendees than PTA one-octave models.Feedback included: “thank you so much”, “absolutely fantastic”, “informative,approachable, helpful, great” … Thanks to William Catterson and to SteveBenham for introducing Classes D & E respectively.

Class F – Thanks to the Guildhall School of Music & Drama for releasingJohn Paul Williams from his duties to present this fascinating class. 28attended this very popular lecture. Feedback included: “brilliant”, “fantasticclass”, “just great”, “phenomenally clear & enlightening” …

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Thanks to Peter Metcalfe for introducing this class.Class G – Thanks to Kawai UK, Nigel Walker, Head Piano Technician,

Neil Sale and James Webb. Due to the nature of this class numbers wererestricted to 8 and it was encouraging to see James assisting Nigel with theworking groups. Feedback included: “look forward to a repeat of this class”,

“really useful”, “plenty of hands on opportunity” … Thanks to Nigel Polmearfor introducing this class.

Class H – Thanks to Steve Droy for sharing his teaching method at thePiano Technology School and introducing Rick Baldassin’s approach to thethorny issue of aural and electronic tuning. The class was attended by 7Delegates. Additionally, PTA examiners on site slipped into the back of theclass just to add to the pressure. Feedback included: “most interesting, haschanged my outlook”, “good class”, “intriguing demo”, “integrated approachwas interesting” … Thanks to John Lambert for introducing this class.

Class J – Thanks to Martin Backhouse for once again offering help andlove for some of the most challenging instruments we ever encounter. 6Delegates joined him on the floor as they squinted in the depths of these littlepianos. Feedback included: “delivered with enthusiasm and humour”, “veryclear and helpful” … Thanks to Andrew Day for introducing this class.

The exhibition area was supported by Kawai UK and Coach House Pianos.Also: a selection of items from the PTA library, auction viewing tables, theopportunity to explore the new web site on its development platform gaveplenty of opportunity for discussion during tea and coffee breaks, with thefamiliar sound of ‘Pucket’ adding to the ambiance.

Thanks to tool donations from 3 sources, the auction was going tooverwhelm Friday evening. However, with a brainwave from Gavin Crooks a

‘silent auction’ was created. The concept was explained by Gavin and then witha 25 minute countdown a real enactment of eBay was played out, with generalgood humour. In under an hour over 78 lots had raised £575 (lesscommissions) for the PTA student fund.

The 2 kegs of Adnams, Ghost Ship were all but consumed by the end of theevent, and those, kind enough to share their views of the venue, were generousin their praise for hotel staff, lecturers and colleagues.

It is fair to say Conventions are only as good as the Delegates, so thank toall who made the financial investment and time sacrifices to attend. I verymuch hope you all found your efforts rewarded.

We intend to return to Sharnbrook next year, and hope that we can tempt afew more of you to find time to join us in 2020.

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LETTERS TO THE EDITORDear Anne,I am grateful to my colleague, Dr Alastair Laurence in his recent letter to

PTA News for his confirmation of my understanding that Bösendorfer werethe prominent piano in the Wigmore Hall in the 1920s & 1930s. In particularfor his accurate sales figures for the Wigmore Piano Galleries.

Regarding the import of strung backs from Vienna, I am able to shed a littlelight. I have come across at least half a dozen very small Bösendorfer grandpianos (5 foot or thereabouts) which were all obviously built or at least actionfinished in London.  They were fitted with Shenstone keyboards andHerrburger Brooks actions and to those who know, had all the hallmarks ofLondon piano action finishing. I have always understood that it wasMonington & Weston that put together the Bösendorfer 5' grands. However, inmy 42 years in the piano trade and many years as a Bösendorfer specialistconcert technician, I have never seen any other model of Bösendorfer than the5' already mentioned which was at least partially built in London. As there area significant number of Bösendorfer pianos from the latter half on the 1930sstill in the UK (arguably Bösendorfer’s finest period, after their terrific successin the 1936 BBC piano trials mentioned in my previous letter to the PTANews) which are definitely totally built in Vienna, I’m not sure how theyarrived here unless imported by the Wigmore Piano Galleries. I would beinterested to hear Dr Laurence’s thoughts on this.

I was fortunate in about 1980 (together with David Smith, no longer in thepiano trade), to be completely trained in grand action finishing on a ChallenModel 16 by Ted Wicking, the former factory manager of Challen pianos.He had been selected to be works manager of the Challen piano factory in the1930s by the owner and was then given the most complete training at Challenwhich included every area of manufacture of upright and grand pianos.Some PTA members will remember Les Pearce who I introduced to PTAConventions many years ago, particularly for his grand damper classes.Les spent his five year apprenticeship as a grand action finisher at Challenpianos at the time when Ted Wicking was factory manager. It wasTed Wicking who told me he was sent to the Royal Festival Hall when it wasfirst opened to install a Challen concert grand piano and that this was the firstpiano to be used in this famous hall. I have no reason to doubt this as Tedattended in person as Challen’s most knowledgeable piano technician. At leastDr Laurence and I agree that the first piano installed in the Royal Festival Hallwas British!

Dr Laurence’s comment about Chappell’s excellent concert grand pianos ofthe late 1930s is one I can confirm from an old concert pianist I met in the late

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1970s. This pianist had played in all the famous music venues in the 1930s andbeen a pupil of Benno Moiseiwitsch (who had a Bösendorfer concert grand ashis personal piano in his conservatory at home). I once asked this pianist whatwas the best piano they had ever played. I knew they had owned numerousSteinway and Bösendorfer grand pianos and won a Blüthner concert grand asa prize on one occasion. To my great surprise, they said a Chappell concertgrand! They were quite adamant that the finest piano they had ever played andimmediately tried to purchase was a Chappell concert grand piano from thelate 1930s.

Yours sincerely,Malcolm J. McKeand (H1009)

Dear Anne,In Memory of Roger Tostevin

You will no doubt recall that my son, Roger, lost his life prematurely to aparticularly aggressive brain tumour last October. Until the sudden onset of hisillness, some 22 months prior to this, he pursued a very active business as apiano tuner-technician and made a valuable contribution to the musical life ofNorth Staffordshire, Cheshire and Shropshire.

In his memory, my daughter, Ruth and grandson, Tom, will be climbing the‘Three Peaks’ – Ben Nevis, Scafell and Snowdon in 3 days from 6 – 8th Julythis year. Their aim is to raise funds for ‘The Brain Tumour Charity’, which isthe charity carefully chosen by Tessa Jowell, who suffered the same fate.

Any friends who knew Roger and who may like to contribute can do soonline at https://www.justgiving.com/fundraising/Ruth-Davison3 oralternatively cheques can be made out to ‘The Brain Tumour Charity’ andposted to me:Mavis Tostevin, 23 Lisbon Place, Newcastle-under-Lyme, Staffs. ST5 2TXPlease indicate if your donation can be gift aided.

My good wishes to you, and all Members of the PTA.Yours very sincerely,Mavis Tostevin

Dear Anne,Thank you for sending me the PTA news publication with dad’s eulogy.

Thank you for remembering him. As a result of clearing out dad’s workshop,I have a Grand shoe and a couple of trolleys that I have no need for. If anyPTA Members are interested in these items, they can contact me on 01452500243 / 0775 976 9578 or email me sk@gloucestershirepianotuner.co.uk

Yours sincerely,Shaun King

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The Meeting of the Executive Council was held on 18th May,2019 at The Sharnbrook Hotel, Bedford.Present were Barry Caradine (President) Andrew Giller (Vice President)Annette Summers (Secretary/Treasurer) Shaun McLoughlin (Trustee)Roberta Caradine and Michael Syson (Members), Paul Fox andNigel Donovan (Observers).Apologies were received from Steven Droy and Tania Staite.Minutes of the March Meeting were approved and carried.The Treasurer’s report was circulated, approved and carried.Appointment of Secretary and Treasurer: Annette Summers. No increase to theremuneration of Secretary and Treasurer.Delegated Duties were confirmed:Advertising & PR – Shaun McLoughlin.PTA News/Yearbook advertising – Tania Staite.Complaints Officer – John Lambert. Standing Committee: Roberta Caradine,Steven Droy and Michael Syson.CPD – Andrew Giller. A Training Day at Barry Caradine Piano Specialist willbe held at Sudbury on 22nd June 2019.Convention Organizer – Roberta Caradine.Europiano – Brian Frost.Library – Martin Backhouse.Chair of Test Sub Committee – Andrew Jamieson.Test Subcommittee/Examiners: Rick Ohlendorf, Brian Frost, Barry Caradine,Mark Beglin, Finlay Fraser, Ben Nolan. Examiner-in-waiting – M Bailey.Test Coordinator (on a trial basis) – Tom Read.PTA News Editor – Anne Burton.PTA News to CD – Tania StaiteWebsite – vacant. A Privacy Policy and Cookie Policy to comply with GDPRwill be placed onto the website.Social Media – Andrew Day.Yearbook – Brian Frost. The GDPR/Privacy Policy will be entered in thePTA Directory.New Member Promotions – Michael SysonThe next Executive Council Meeting will be held at Robert Morley & Co Ltd.,Lewisham on Saturday 27th July 2019 at 12.00pm.Observers are welcome at all Council Meetings. A copy of the Minutes isavailable from the Secretary.

PTA COUNCIL REPORTANNETTE SUMMERS

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PTA DIARY OF EVENTS

PTA Polyester Training Day, Saturday 22nd June 201910am to 5pm at Bull Lane Industrial Estate, Acton, Sudbury, Suffolk CO10 0BD

Executive Council MeetingNoon on Saturday 27th July at Robert Morley & Co Ltd, Lewisham

PTA Scottish Autumn Lunch 2019Venue and date to be confirmed

Convention Classes with A.G.M. May 2020The Sharnbrook Hotel, Park Lane, Sharnbrook, Bedford MK44 1LX

For enquiries, PTA goods, changes of address or contact details: Mrs Annette Summers, PTA Secretary PO Box 230 HAILSHAM BN27 9EA Tel: 0845 602 8796 Email: secretary@pianotuner.org.uk

The PTA is most grateful for all the help and support given atthe Convention by Exhibitors, Speakers, Sponsors & Helpers:Martin BackhouseAndrew GillerAndrew JamiesonBrian FrostCoach House PianosDavid Martin and Pianoforte MarwoodJP Williams and Guildhall School of Music & DramaNigel Walker and Kawai Pianos UKRoberta and Barry Caradine BCPG LtdSteve Droy and the Piano Technology SchoolUlrich Gerhartz and Steinway & SonsAnnette Summers