This is of particular importance in the case of tonal puncture, because the tuning fork is held in the hand for a longer period of time and thus it warms up. Tuning forks made of steel have a much more stable frequency accuracy during temperature fluctuations compared to aluminum. Accordingly, the tuning forks offered here are manufactured with the highest precision. Whether tuning music or in tonal puncture, frequency accuracy is crucial for the highest possible resonance. If there is fabric between the person's skin and the tuning fork, no allergy can be caused either.įrequency accuracy of the tuning forks (Steel vs. Our models Splus and Lplus have a grip pad, so there is no contact with the skin when holding the tuning fork. But certainly someone can be more or less allergic to nickel. when wearing earrings, while in tuning fork applications the contact is relatively short. Reactions to nickel in allergy sufferers usually only occur with prolonged contact with the skin, e.g. Since Planetware was founded in 1990, no problems have been reported because of the material, not even with regard to nickel allergies. The tuning forks offered by Planetware are made of nickel-plated steel. The main reason why stainless steel is not used is that it is harder, so that the tuning fork would have a much shorter oscillation period. To prevent the steel from rusting, the tuning forks are nickel-plated. The tuning forks are made of high-quality steel for the S and Plus models it is so-called gong steel and for the L and Lplus models a special tool steel. Do not clean the tuning fork in sterilizers. For cleaning, the tuning fork should be wiped with a dry or slightly greasy cloth.įor cleaning, the tuning fork should be wiped with a dry or slightly greasy cloth. Do not touch the curvature of the fork with the holding fingers so that the fork arms can vibrate freely.ĭo not clean the tuning fork in sterilizers after use. The oscillation period of the tone reaches a maximum time span by this short striking. When striking the tuning fork, hold it firmly with thumb, index finger and middle finger on the shaft (or on the grasp pad of the Splus or Lplus version) and briefly strike the end of one of the two prongs with momentum from the wrist on the (not too hard) object. A very suitable object is a small terry cloth towel that has been folded and tightly rolled up, with the roller tied at both ends with two strings. If it is used more often, the tuning fork can be struck on an object that has approximately the 'softness' of the ball of the hand. Even with special tuning fork stop blocks made of hard rubber offered on the market, this high overtone can occur. If the tuning fork is rarely used, it can be struck on the ball of the other hand. The tuning fork should not be struck against hard objects, otherwise a high overtone - a whistling tone - will emerge. The new grips are the result of several years of development, during which various materials and shapes were tested and evaluated by users. The shape and material of this grip pad allows the tuning fork to be held more loosely, which means that the fingers holding it do not tire as quickly. The ergonomic grasp pad of the tuning fork models Splus and Lplus enables a more relaxed permanent use. Here, the tuning fork is held for a long time and after being struck, it is placed on the body for minutes, struck again, placed again, and this process is sometimes repeated several times. With tuning fork tone puncture, where the vibrations of the tuning fork massage the body cells with the appropriate frequency, the way of tuning fork use has changed significantly. ![]() The tuning fork is therefore held here only relatively briefly. For this purpose, the tuning fork is struck briefly, the tone is heard for a few seconds and then the instrument is tuned to this tone. Initially, tuning forks were used to tune musical instruments or the singing voice. For this formula the term Cosmic Octave has become common.įor detailed information about the Cosmic Octave and the different planetary tone frequencies please see 2 n (= multiple doubling of a frequency) the Swiss mathematician and music researcher Hans Cousto calculated in 1978 from the orbital and rotational frequencies of the earth, the moon and the planets the corresponding sound frequencies.
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