Cracking the unisons

[David Andersen]

> I'm hoping someone will take a stab at a detailed
> definition of "Cracking The Unisons".

I'll take a crack at it....
> 
> I've checked the archives, and lots of people mention
> Virgil Smith's technique, some claim to use it, only a
> few have partially described it, and I suspect I'm
> still not getting it.
>   
> As I understand it:  If a three-string unison is found
> to be slightly flat or sharp compared to a test
> interval or two, you adjust the first string without
> muting the other two, then adjust the remaining
> strings to clean up the unison.

Close, no cigar.  You do use a mute.  Not using one would be wacky, and
counterproductive.  Say you're setting the temperament---and this is
assuming you tune all 3 strings of a unison as you go, no felt strip---and
you get done, and you're playing through it, and the top note of the
temperament octave seems a little flat to you.  When you make your checks,
you confirm that it is, in fact a hair flat. Work with 2 of the 3 strings:
mute the left hand string, put your lever on the pin of the middle string,
And "crack" the 2 string, hopefully perfect unison by raising the pitch of
the middle string slightly---meaning just a teeny bit---just a litle smear,
a little phasing, no beat speed at all. Then pull the right string up to it,
and check it with your checks.  If it feels/sounds good, and checks out,take
the mute out and pull up the left string, then check again. Bingo.

As you practice, you get quicker and quicker at this, and your tunings take
on a greater and greater level of precision, which mean they sound better.

IMO, mastering this skill is crucial for high-end work, really fine tuning.

Good luck, Greg. Keep on working, trust your body.

David Andersen
Malibu CA

P.S. If you can get hold of a November 2005 Journal, I have an article in it
about open-string tuning which describes the process.