Robert’s Piano Service, located in the San Francisco Bay Area, offers complete piano tuning and repair service. If your piano has been moved, doesn’t sound right, or you can’t remember when it was last tuned, call today for a complimentary consultation.

Robert’s Piano Service offers dependable, affordable and extraordinary piano services, all while offering excellent customer service. Piano tuning is work is done in the owner’s home, as are small repairs and regulation work. Robert’s Piano Service has been serving the South Bay, Peninsula, and the East Bay since 2005.  Piano tuning San Jose


The piano requires various forms of maintenance to produce its best sound. A new piano should be tuned once every three months for domestic pianos.

Robert’s tuning is precise, musical, and is dedicated to spending enough time to tune your piano correctly! All work is guaranteed.

For a quality concert performance, a piano should be tuned just before a performance in concert hall.
A piano should be tuned just before a performance for a recital.
Most pianos can be played for many years without major repairs. However, the tone, touch, and appearance will continually decline with age. When regular maintenance such as cleaning, regulating, voicing, and tuning can no longer provide satisfactory performance, a piano may require reconditioning or rebuilding. If you suspect that your piano needs major repairs, Robert’s Piano Service offers a complete evaluation.
Over time, the performance of a piano action tends to decline, due to the compression of felt, warping of wood, and other types of wear. A skilled technician can restore it to optimal precision, in a process called regulation, which involves adjustments ranging from turning a small screw to sanding down a wood surface. Many new pianos are not perfectly regulated when released from the factory, or quickly lose their regulation when moved to their new home, and benefit from regulation in the store or in the home.

The goal of regulation is to make the piano’s touch and sound consistent across all notes, allow it to comfortably achieve the widest possible range of dynamics, and make the keys responsive to even the most rapid or most subtle motions of the player.
Source: http://en.wikipedia.org/wiki/Piano_maintenance

The felt hammers of the piano tend to harden over time, as the felt becomes compressed by repeated impact. They also form grooves at the points of contact with the strings. Harder hammers produce a brighter tone quality, which may ultimately become harsh and undesirable. Piano technicians can soften hammers using special tools called voicing needles. They also sometimes use special hardening agents when the hammers are too soft (though this practice is controversial among some technicians). In either case, an important goal is uniform tone quality across the piano, since the hammers are not used with equal frequency and therefore tend to wear unevenly. How much and how forcefully the piano is played is a factor in how often a piano is voiced, as are the piano’s setting and the preferences of its players.

Over time, the strings will wear grooves into the surface of the hammers. The grooves eventually become deep enough, and the head of the hammer flattened enough, that voicing cannot restore the piano’s tone. At this point, a technician can file the hammers, restoring their original ovoid shape and pristine surface at the expense of making them somewhat smaller. This process may repeat several times, until there is not enough felt left on the hammers for another filing, and they must be replaced.
Source: http://en.wikipedia.org/wiki/Piano_maintenance

When the flattened strike point on the hammer exceeds about 1 cm, it is time to re-shape the hammer. Note that you have to distinguish between the string groove length and flattened area; even in hammers with good voicing, the grooves may be over 5 mm long. In the final analysis you will have to judge on the basis of the sound. Shaping is accomplished by shaving the “shoulders” of the hammer so that it regains its previous rounded shape at the strike point. It is usually performed using 1 inch wide strips of sandpaper attached to strips of wood or metal with glue or double sided tape. You might start with 80 grit garnet paper and finish it off with 150 grit garnet paper. The sanding motion must be in the plane of the hammer; never sand across the plane. There is almost never a need to sand off the strike point. Therefore, leave about 2 mm of the center of the strike point untouched.

Needling is not easy because the proper needling location and needling depth depend on the particular hammer (manufacturer) and how it was originally voiced. Especially in the treble, hammers are often voiced at the factory using hardeners such as lacquer, etc. Needling mistakes are generally irreversible. Deep needling is usually required on the shoulders just off the strike point. Very careful and shallow needling of the strike point area may be needed. The tone of the piano is extremely sensitive to shallow needling at the strike point, so that you must know exactly what you are doing. When properly needled, the hammer should allow you to control very soft sounds as well as produce loud sounds without harshness. You get the feeling of complete tonal control. You can now open your grand piano fully and play very softly without the soft pedal! You can also produce those loud, rich, authoritative tones.
Source: http://www.pianofundamentals.com/book/en/2.7.1

On older pianos, if the strings have become brittle with age, they are more likely to break – even if the change is tension is very slight.

In the case of a broken bass string, which is a “wound string” (core wire with other wire wrapped around it), if the broken string is still available, it is often best to splice the old string back into place if possible. If a bass string is missing, a new one can be ordered.