tonecrafter@hotmail.com
Piano Tuning for the Ear, by the Ear. Throughout B.C.
Keith Burchnall is the Tonecrafter
About
My Story
I love my job; I create harmony out of a world of chaos.
I've been developing my ear since I was a child, and have been involved with piano tuning for over 40 years. My job is to make your piano sound as good as it will permit.
Skills and Services
- Piano tuning
- Piano regulation
- Piano voicing
- Piano repairs
- Piano rebuilding
- Advice, evaluations and consultations
Why Play Piano?
80% of the kids that are in the top 20% for grades study music.
Playing piano is good for the spirit and mind and is excellent stress relief.
Playing the piano is the Olympics of the nervous system. Neuroscientists have found music in general involves much activity in the brain, and that the brain lights up like a Christmas tree when playing piano.
The piano is a complete musical universe, with more range than an orchestra.
More music has been written for the piano than any other instrument.
The piano is easy to learn, difficult to master.
Featured Services
Piano Tuning
Piano Regulation
Piano Regulation
Tuning brings all the 220-odd strings into harmony, finely adjusting high-tension heavy steel wire, blending the vast sea of overtones so they excite and bring out the best in each other to where they take on a life of their own.
Piano Regulation
Piano Regulation
Piano Regulation
Regulating is adjusting the keys and thousands of other parts for optimal power, consistency and responsiveness, so the hammer feels like it’s dancing at the end of the fingertip.
Piano Voicing
Piano Regulation
Piano Voicing
Voicing is best done after tuning and regulation, when the piano can really be evaluated.
Here, the technician begins to shape tone for what it could be, either to his own taste or to suit the client. The hardness and density of the hammers is tailored for the room and player preference. Left to my own devices, I like to mimic an orc
Voicing is best done after tuning and regulation, when the piano can really be evaluated.
Here, the technician begins to shape tone for what it could be, either to his own taste or to suit the client. The hardness and density of the hammers is tailored for the room and player preference. Left to my own devices, I like to mimic an orchestra , with a big resonant bass, working through to high strings and piccolo with as much gradation in tone as possible. It should go from a whisper to a blare, without merely being a pingy sound that`s more or less loud. It should be resilient.