I always pitch-raise without muting. It's certainly faster than moving the mute. TuneLab Pro makes it easy as you can use the spectrum display in zoomed in mode. It will show the peaks for all three strings. There is also an indicator of +/- 10-cents and +/- 100 cents so you get a very comprehensive view of what's happening. The nice thing is you can keep it in auto note-switching mode. dave *********** REPLY SEPARATOR *********** On 1/14/02 at 10:30 AM Joe And Penny Goss wrote: >Hi Ron, >Yes the Verituner helps me get a sweet sound on a spinet too. >Besides muting techniques, one might also mention the hammer. An earlier >post mentioned the Jahn hammer and how stiff it was and that they felt the >stiffness helped in being quicker. I also like a stiff connection between >shaft and tuning tip and like the feel of immediate feedback when the pin >turns. Jahn uses a 1/2" hex shaft. >I do not know if they are heat treated to achieve maximum stiffness but can >tell you mine are. >Joe Goss >imatunr@srvinet.com >www.mothergoosetools.com >----- Original Message ----- >From: <drwoodwind@att.net> >To: <pianotech@ptg.org> >Sent: Monday, January 14, 2002 10:49 AM >Subject: tuning speed ... muting! > > >> To bring this discussion back to the origional question: >> >> What's changed since the 70's in tuning that allows >> quicker tuning? >> >> I'm surprised no one mentioned muting techniques. The >> idea is to minimize the non-tuning time; the 'wasted' >> motion. Check the archives, but for strip-muters (?!) >> there is the technique of using two strip mutes. For >> rubber-muters (??!!) there are split mutes; allowing >> tuning 3 strings before moving the mute. I've even read >> about non-muters (???!!!) that are able to pitch-raise >> without any mutes. My head hurts just thinking about >> it......... Move the hammer, tune, just keep moving. >> >> Another consideration is the margin for error. This >> applies to spinets too. The choice is made with each >> tuning, to tune within a 10 cents, (pitch raise) 2 >> cents, one cent, 1/2 cent? What is your target? By >> narrowing your margin with additional tuning passes, it >> is possible to end up with a tuning that couldn't be >> accomplished in one pass, no matter how long that one >> pass takes. Don't slow down to check, or fine tune in >> the early passes, just get it anywhere close to the >> target. The next pass will begin to refine the tuning. >> >> As to those spinets, I notice that they are MORE >> sensitive to errors, (because of a challenging scale) >> and need to be tuned to a tighter tolerance to >> sound "good". If two or three octaves are already >> etched in stone before you approach the break into the >> bass, no amount of fiddling with those notes will make >> the tuning work, the problem.... no, the solution lies >> in shifting notes up higher(yup, back to the temperament >> octave) to make the compromise span across the >> keyboard. >> >> So how to do that? >> >> Verituner >> >> Sorry, couldn't help but sneak that one in. It wasn't >> until I started using one of these that I didn't mind >> walking away from a "tuned" spinet any more.(I don't >> mean running away from!) I do use an alternate >> temperament most of the time, but I was doing that >> before using the Verituner, so that wasn't the answer >> for the spinet problem. >> >> Ron Koval _____________________________ David M. Porritt dporritt@mail.smu.edu Meadows School of the Arts Southern Methodist University Dallas, TX 75275 _____________________________
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