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<DIV>In a message dated 12/1/04 9:12:41 A.M. Central Standard Time,
claviers@nxs.net writes:</DIV>
<BLOCKQUOTE
style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: blue 2px solid"><=
FONT
style="BACKGROUND-COLOR: transparent" face=Arial color=#000000 size=
=2>There is
no certain tuning that will sound good on all pianos. The<BR>"stretc=
h"
that is necessary for one piano will make another piano sound<BR>wild, and=
the
clean tuning that will sound beautiful on one will make<BR>another sound
dead. And this puts us right back to what Don Wigent said.<BR>It's a=
ll a
matter of knowing what to apply, where to apply it, and how to<BR>do
it.<BR><BR>Jim Ellis <BR></FONT></BLOCKQUOTE></DIV>
<DIV></DIV>
<DIV>It's the stretch factor which is the reason for the large tolerances bu=
ilt
into the tuning exam. 6 cents errors in both the bass and high treble a=
re a
lot. </DIV>
<DIV> </DIV>
<DIV>As far as stability, I wasn't suggesting we need to pound the daylights=
out
of the string to test for stability. I was merely explaining that I did this=
to
get the pianos stabilized in the first place. The previous tuner at UA
never did that. It is presumed the exam piano will have been stabilized befo=
re
the tuning exams are given. </DIV>
<DIV> </DIV>
<DIV>But I would like to see more than just the middle two octaves tested. I=
suggested the examinee tune all the C, F, and A on the piano for unisons and=
stability. There is a big difference in tuning for stability in the upper
octaves than on the lower ones. This would show the tuner knows how. </DIV>
<DIV> </DIV>
<DIV>Just my thoughts on the matter.</DIV>
<DIV> </DIV>
<DIV>Wim </DIV></FONT></BODY></HTML>