VT pitch raising tip--was

[Farrell]

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Hmmmm. Just never noticed that the VT takes all that long to calculate =
an overpull. Seems to me just a second or two...... ????

Terry Farrell
  ----- Original Message -----=20
  Look forward to hearing your comparisons with pRCT.

  Right now, I carry the VT in a camera bag. It won't fit in my tool =
case with the rest of my stuff, so that's what I'm doing for now. It's a =
padded soft-sided case that has room for the manual and charger. A =
camcorder case would also work well.

  One technique I use helps with pitch raising and a one-pass tuning =
with overpull. It might also work well with RCT and other ETDs that =
listen to each note to calculate overpull for that individual note. The =
VT takes a while to measure the overpull, and this method helps speed =
things up a bit because the machine calculates the needed overpull =
before you are actually ready to tune that note. This method works with =
the "leapfrog" way of using two rubber mutes, and it also works with =
strip mutes. I use both, depending on whether I'm tuning a vertical or =
the spacing of the strings on a grand won't allow good muting with a =
strip.=20

  This method assumes you are tuning unisons as you go up and down the =
scale. Basically, you will be playing the next note with your left hand =
as you are moving the mutes and lever with your right hand. This allows =
the VT to calculate the overpull while you are still working on tuning =
two other strings. =20

  It's easier to do than to describe in writing, so I hope you can make =
sense of it. Here goes....

  I'm assuming you are using two rubber mutes, have measured A4 and A3, =
and are starting with the first tenor string...we'll assume the tenor =
begins with B2 and is a trichord. You have one mute between the B2 =
middle/right strings and one mute between the B2 right string and C3 =
left string, so that only the left B2 string is sounding. Tune the left =
B2 string. As you are pulling the mute out from the B2 middle/right =
strings and moving it to mute the C3 right string/C#3 left string, play =
C3, which should now have only the middle string sounding. (You have a =
free left hand as you are moving mutes and lever, correct? So play C3 =
now with it to let the VT calculate the overpull. It takes a couple of =
seconds to move the mute and lever, and this gives the VT plenty of time =
to make its calculations.) Now tune the B2 middle string.

  Now, you are ready to tune the C3 middle string.  (Because you've =
previously played C3, the VT has already calculated the necessary =
overpull, so you play it and tune right away without having to wait.) =
After the middle C3 string is tuned, move the mute from between the =
B2/C3 strings to the C#3 right string/D3 left string, playing C#3 as you =
are moving the mutes and lever. (Again, this gives the VT time to =
measure when you get ready to tune C#3.) Then tune B2 right and C3 left. =
Now tune C#3 middle, and move the mute ahead as you are playing D3.

  Does this make any sense? It's far easier to do it than to write it. =
Here's a crude visual illustration. The strings should be obvious, and =
the "V's" are the mutes. I hope it comes through OK.

  V V
  III    III   III
  B2  C3 C#3

     V    V
  III    III   III=20
  B2 C3 C#3

           V    V
  III    III    III    III
  B2 C3 C#3 D3

  Just remember to be playing ahead as you're moving mutes and lever so =
the VT can calculate the overpull and have it ready when you get to that =
string.

  John Formsma
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