At 04:03 PM 4/8/97 -0400, you wrote: >Susan, > >In your note to us you stated how you pitch raise twice and clean up the tune >on the third pass. I propose if you pulled above pitch with the proper >method you would save yourself the third pass. I clean up on the second >pass, and really I can say it is stable. I also say I will need to come back >in three to four months but have always found the instruments in very good >shape. > >Ed Tomlinson >Tomlinson Tuning and Repair Hi, Ed You are quite possibly right about saving time with two passes instead of three. Obviously you get good results. I didn't make up a theory first -- I kind of drifted into using three passes. (Actually, I usually can get away with only two in the bass, since it doesn't change as much.) My reasoning, after the fact, goes like this: I need to do less overpulling by doing the first pass at A440. Whatever the final effect on stability, certainly overpulling isn't _good_ for the strings. I can do the first pass very quickly, since I will go over everything twice more. And by pulling to A440, when I do the second pass I can tell how far the piano actually shifted, and base the overpull on that, note by note, instead of choosing some arbitrary figure. My feeling is that pianos vary a lot in how quickly and how far they rebound, and in what registers. In a way, this tailors the overpull to the response of the particular instrument. Of course, I may be totally out to lunch with all this! Regards, Susan >In a message dated 97-04-08 05:23:49 EDT, I wrote: > Now, I find this interesting, because I follow a similar procedure without > the Accutuner. I pull only to A440 on the first pass (to see how the land > lies, and not to overpull too far). Then, before the second pass, I can see > how far the pitch dropped, and overpull enough to compensate. (What can one > say? I _guess_.) By waiting for the second pass I don't have to overpull as > far. The decision of how far to overpull is kind of subliminal, as I do each > note. Usually it ends up pretty good, and the third pass is for tidying. > > I always explain it will need another tuning soon in order to be stable, of > course. I tell them that I showed the piano which block the ballpark was > located in, etc. I tell them that the piano, like other people, dislikes > being told exactly what to do, and strays a little, etc. If they look > accommodating, I tell them about back lengths and different tensions in > different parts of the string. If they don't look blank and bored after > that, I chose the right thing to say. (Once in a while, every now and then, > one can get it right.) > > Susan Kline >> > > > Susan Kline skline@proaxis.com P.O. Box 1651, Philomath, OR 97370 "Warning: Whimsical when bored."
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