Ron/List My pitch corrections were slow, as much as twenty minutes. Back then everything I did was slow, painfully slow. I was using an accelerated version of my tuning, temperament and all. Then a college tech showed me how to "pull'em up quick." Based on what he showed me and how I mute the piano, is much faster, usually 6-8 minutes. But instead of using the "tune, move the mute" method, I use a double mute technique; tune all the center strings, pull a mute strip, tune the newly opened strings, etc. This technique has me moving back and forth across the bicord/ tricord sections of the scale. I was thinking that this method spreads the changing load over the scale. But, on new(er) pianos using the same muting technique, I start in the temperament octave, tune the open string, then guess/blind/deaf tune the muted string/strings down through the bass, then up to C88. The amount of "settling" seems to be the same for each technique. So, I'm concluding that the technique for getting a piano to pitch doesn't seem to matter as long as the "settled" pitch correction is at the desired pitch. Am I missing something? Paul Chick ----- Original Message ----- From: Ron Nossaman <RNossaman@KSCABLE.com> To: <pianotech@ptg.org> Sent: Thursday, August 30, 2001 9:28 AM Subject: Re: stability of pitch raises > > I was taught to pitch correct (up or down) very > >quickly to keep the piano from "settling" out of tune. > > We probably all were, but does it really make a difference to anything but > our hourly wage? Have any of you tried a sssssslllllooooooowwwww pitch > raise, either aurally or ETD driven, to see if the end result was > noticeably different? Hands? > > > > > After following the > >thread on plate compression and soundboard movement, I'm thinking that > >almost all that occurs during the pitch correction. > > Me too, regardless of whether the tuning computer is silicon or meat based. > > > Ron N >
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