<HTML><HEAD> <META charset=US-ASCII http-equiv=Content-Type content="text/html; cha= rset=US-ASCII"> <META content="MSHTML 6.00.2800.1400" name=GENERATOR></HEAD> <BODY style="FONT-SIZE: 10pt; FONT-FAMILY: Arial; BACKGROUND-COLOR: #fffff= f"> <DIV> <DIV>In a message dated 4/10/2004 4:53:44 PM Central Standard Time, phil@phi= lbondi.com writes:</DIV> <BLOCKQUOTE style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: blue = 2px solid"><FONT face=Arial>Wim, do you listen at ppp?</FONT></BLOCKQUOTE>= </DIV> <DIV>For concert work, I tune at FFF. I get the middle string is in tun= e with the SAT, hitting the note at least a dozen times. Then I tune the out= side string by ear, also at FFF, but making sure the SAT has not moved, agai= n, hitting the note at least a dozen times at FFF for each string. In o= ther words, the note will have had a workout. </DIV> <DIV> </DIV> <DIV>Comment about maybe be over doing it. I don't believe that to= be the case. We are supposed to make sure the piano will stay in tune under= the most stringent conditions. I don't think the excuse, "I didn't kno= w you were going to play the piano that loud," is going to cut it when = an artist complains the piano went out of tune before the end of the fi= rst movement.  In defense of my method, last year the D at the universi= ty withstood the Rach 3rd with only one string slipping a couple of cents. T= hat is why I wonder why some strings on some pianos do, and some don't, and = what causes it.</DIV> <DIV> </DIV> <DIV>Wim </DIV></BODY></HTML>