To much over reaction on this topic but the bottom line is that I see a great benefit to tuning with a combination of ears and an ETD. My ears catch inconsistencies in the piano not compensated for by the ETD and the ETD helps zero in on things that are hard to hear. For institutional work, which needs to be done quickly and in sometimes unfriendly environments, ETD's are invaluable. To rely on them totally without listening, however, can be dangerous. Theoretical curves based on limited measurements may not always produce the best possible curve for the piano and the machines don't have the fudge factor which we often need on some of these toads to cover the warts. ETD's can be useful for solving disputes. The other day after tuning a piano the customer insisted a particular note in the mid treble was flat. Since I was packed up I went through my various aural checks and it sounded fine to me. I finally pulled out the ETD so I could measure it compared to the note an octave below. The note in question measured just a shade wide of a 4:2 octave--exactly where I wanted it. At various dynamic levels she heard the note as flat. When we focused on finding a dynamic level where the pitch was clearer, it sounded fine to her. The problem was a tonal one. This particular piano (rebuilt with new soundboard a few years ago) has several splatter problems in the treble and distortion makes the pitch very difficult to hear clearly on many notes. While we were at it we looked at a problem note in the bass (Steinway M) where the unison was difficult to tune clean. A comparison measure of the various partials on each string turned up the anomaly on the 6th partial where when the lower partials where tuned in unison, that one was quite off. It was a very nice and easy way to illustrate the problem and shift the blame from my questionable unison tuning to an anomaly in either the string or the bridge. We are now discussing various remedies ($$$). I wouldn't leave home without it. David Love davidlovepianos at comcast.net
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