This is a multi-part message in MIME format. ---------------------- multipart/alternative attachment You're right, don't throw it away, Mr. Bill. My "high end" concert = work, ahem, almost always starts with a quick pitch correction (those = are the circumstances, unfortunately) and then the strips go into the = tool case. Round two is unisons as I go--sometimes with strips and = wedges, sometimes just with 2 wedge mutes. I'm afraid I'm not a = cracker... Then again, I just tune those unisons until they are as clean = as possible and have never thought about what partial I'm using--or = maybe it's just that I haven't thought about what partial I use in such = a long time that I've forgotten. Hmm...perhaps the left side of my = brain is gone... Alan's concert hall description is very close to reality. For those = purists out there who think ETDs don't have their place in performance = situations, preparing a piano in a public concert hall is <very> = different from tuning in a university recital hall (the former = university tech in me speaks). Until I got this gig, I had never set a = unison using an ETD. The thought of it still scares me a bit. Somehow, = it just seems unnatural---and as David Love said, it takes longer. But = <longer> is better than <impossible> when tuning amidst big noise. No = matter how difficult the situation is (BTW, they're not <all> awful), = the final check is by ear--for my peace of mind. Barbara Richmond, RPT=20 ----- Original Message -----=20 From: william ballard=20 To: Pianotech=20 Sent: Friday, January 06, 2006 9:25 PM Subject: Re: Cracking the unisons <snip> Your article and this thread tell me it's time to toss the strip away. = (On a piano that's already nearly in tune, at least.) ---------------------- multipart/alternative attachment An HTML attachment was scrubbed... URL: https://www.moypiano.com/ptg/pianotech.php/attachments/7c/5e/49/65/attachment.htm ---------------------- multipart/alternative attachment--
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