It has been awhile since I tuned with a fork but I believe thats the test I used...how would do it aurally?...17th? David I. ----- Original message ----------------------------------------> From: Robin Hufford <hufford1@airmail.net> To: <pianotech@ptg.org> Received: Thu, 22 Aug 2002 00:45:19 -0700 Subject: Re: Unison Flatter than each Individual string? >David, > Although I can see the point you make as to the ease of setting the A(4) by reading >the machine, setting it by using "aural" methods is by no means masochistic nor in any >degree as difficult as you suggest, nor should it be any basis for egotism as i As A(4) >is not is not a harmonic of F(3); that is the tenth below, then using a tenth to derive a >reference tone is not the best or even acceptable practice and would indeed be >masochistic. The correct reference tone in which an F is employed requ There are >many fine uses for an ETD of which I own a SAT II but the task of pitch transfer is not >one, in my opinion, in which a great advantage can be obtained simply by substituting a >machine in the place of the very easy, readily learned and execuRegards, Robin >Hufford >David Ilvedson wrote: >> I would imagine tuning with a tuning fork/ear and tuning unisons as you go while >setting the temperment would be a quite challenge mainly because you would have to >retune 3 strings when making the inevitable adjustments. Also If those unisons aren't >sose! >, ! >> for instance, every note has drifted up in reaction to the tuning. This is hard for the >ear to decern unaided as many of the aural checks are still in the ballpark. For the life >of me I can't understand why good aural tuners are not taking advantage o> >> Example: >> >> With a tuning fork, the "aural" tuner strikes the fork and roughs in the piano's note to >the fork. Then, for instance, probably checks with a 10th interval between the piano's >F-A and the piano's F and the fork's A. Makes adjustments to the piano's A4> >> Conrad, please overnight me the usual... >> >> David I. >> >> ----- Original message ----------------------------------------> >> From: Tom Servinsky <tompiano@gate.net> >> To: <pianotech@ptg.org> >> Received: Wed, 21 Aug 2002 22:21:40 -0400 >> Subject: Re: Unison Flatter than each Individual string? >> >> >Susan, >> >The pros and cons of single mute tuning: >> >First the pros.. >> >a. Your unisons will improve dramatically vs tuning with a strip mute. When >> >you realize that you cannot go further on in the tuning until the unison is >> >absolutely clean you pay more attention to those pesky details >> >b. The octave stretch, believe it or not, is better calibrated when you are >> >using the result of 3 tuned strings of a unison vs 1 tune string. >> >> >Cons: >> >a. At first, single mute tuning requires a great deal of energy and >> >attention. >> >Until this technique is mastered tuning time will be increased. However once >> >you have become accustomed to this technique tuning time will resemble that >> >of a strip mute tuning. >> >> >I must admit I enjoy single mute tuning if I have the right instrument and >> >when I have ample time to enjoy the ride. The result usually pays for >> >itself. However I also will admit I wouldn't dare nor care to do this with >> >a majority of the instruments I see. >> >I agree with Ted using the technique as a "refresher" course. Personally I >> >think it forces you to be a better tuner. >> >Tom Servinsky, RPT >> >----- Original Message ----- >> >From: "Susan Kline" <sckline@attbi.com> >> >To: <pianotech@ptg.org> >> >Sent: Tuesday, August 20, 2002 1:39 AM >> >Subject: Re: Unison Flatter than each Individual string? >> >> >> At 08:02 PM 8/19/2002 -0400, Tom wrote: >> >> >As far as the single mute technique of tuning is concerned, it does yield >> >> >better results. It also forces you to be much more critical with your >> >> >unisons when they become focal points throughout the temperament. >> >> >> >> >> >> This is getting intriguing. Ted Sambell talked about taking one month >> >> per year to tune without the strip, as a way remember how to keep >> >> unisons really tight and stable, but I've never tried it in a >> >> methodical way. I feel that the strip gives good service in pitch >> >> raises, when multiple passes are involved. I only strip the middle >> >> section, and as I rob felt from the end, the strip gets shorter and >> >> shorter, till it's only about an octave and a half long. I thought >> >> this was a bad thing, but maybe not. >> >> >> >> Thanks for the good posts, Tom and David. >> >> >> >> Susan >> >> >> >>
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