Tuning sequence question

[Geoff Sykes]

Jim --
 
I have been tuning unisons in this open string fashion for the last couple
of years. I find that I achieve much cleaner and consistent unisons this way
as it forces me to get the second string right before I can move on to the
third. If the first two strings have any beat in them whatsoever then it's
pretty impossible to set the third string correctly. I like it. 
 
The reason for my question is, having taken my tuning exam I now want to
spend some time actually getting proficient at aural tuning. Get my speed
up, ya know? With an ETD the process is so efficient that I just wanted to
find out how much of that efficiency can be carried over into aural tuning.
The method you describe sounds like a good approach. I think I'll give it a
try. 
 
Thanks --
 
-- Geoff Sykes
-- Los Angeles
 
 

-----Original Message-----
From: pianotech-bounces at ptg.org [mailto:pianotech-bounces at ptg.org] On Behalf
Of Jim Johnson
Sent: Sunday, July 08, 2007 7:52 PM
To: Pianotech List
Subject: Re: Tuning sequence question


I have been tuning aurally for 40 years and this is the method which has
proven best for me.  Strip mute just the temperament octave.  Tune the
temperament, center strings only, and then tune to the top using two rubber
mutes, pulling up the unisons as you go.  (I don't strip the whole treble
because I want to deal with the tension changes as I go, not just one third
of the tension at a time.)  Then I tune from the temperament down through
the bass, tuning bass unisons as I go.  Then I return and tune the unisons
in the temperament octave.  I tune them by removing the felt strip one note
at a time, tuning the left unison first and then the right unison to the
other two strings.  I used to use a rubber mute for this part of the tuning,
but I find simply removing the temp. strip and tuning the open strings is
much faster.  The only problem doing it this way is if the left unison isn't
perfect, you won't be able to tune the right one the way you want.  So
what's the problem?  Just do a good job on the left one and you will get a
good sounding unison on all three strings.  On uprights, I use a Mehaffey
impact hammer, and on grands, a normal hammer.
 
I use this proceedure only when the piano is within 10 cents of the proper
pitch.  More than that requires a pitch raise, for which I charge 1/2 my
tuning fee on top of the normal fee.
 
Jim

----- Original Message ----- 
From: Geoff  <mailto:thetuner at ivories52.com> Sykes 
To: 'Pianotech List' <mailto:pianotech at ptg.org>  
Sent: Sunday, July 08, 2007 6:05 PM
Subject: Tuning sequence question

Greetings all --
 
I know that when using an ETD the preferred method of tuning is from the
bass up to the treble, tuning unisons as you go. Tests have apparently
proven that this provides a more accurate and stable tuning when completed. 
 
Traditionally, aural tuning means strip muting the entire piano, and after
setting the temperament, all the center strings are then tuned moving first
down into the bass and then up into the treble. After the center strings are
tuned then unisons are set starting in the bass and moving up through the
treble. 
 
In doing an aural tuning, is there any reason why one could not, or perhaps
should not, strip mute just the middle section of the piano, in order to set
the temperament, then immediately set the unisons in the temperament,
pulling out the strip mute as you go, followed by moving down into the bass
tuning the first string and setting unisons as you go and subsequently up
through the treble? 
 
In other words, which aural tuning method of the two described above, would
produce the more accurate and stable tuning when completed?
 
-- Geoff Sykes
-- Los Angeles

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