ETD story

[antares]

> From: David Andersen <bigda@gte.net>
> Reply-To: Pianotech <pianotech@ptg.org>
> Date: Mon, 21 Oct 2002 09:34:18 -0700
> To: "Pianotech" <pianotech@ptg.org>
> Subject: Re: a different interpretation of 'tone', or 'color'.
> 
> 
>> 
>> A perfect electronic tuning device will give you the perfect pitch for every
>> note to be tuned.  The tuning offered us through this perfect tuning device
>> is exactly what about 99.9 % of all - piano - tuners in the world are
>> striving for and It gives us the blissful quick answer to a very complicated
>> Chinese puzzle.

> I don't know if that's true until I hear your tuning with your "perfect
> machine."

That is perfectly understandable, I would do the same.


> When I follow fresh ETD tunings by very capable people, I find it's NOT
> the
> "perfect pitch for every note to be tuned."

OK, it depends on the term "perfect".

The other day a colleague said that perfect was (not yet) possible because
strings move up and down in tension as you go.
In that case perfect is not possible, I agree.

If we accept that on a very good instrument, which is in very good
condition, we make a tuning with one of the very best ETD's (and my VT is
very very good), than the result is 'near perfect', so to speak.
In any case, a very good tuner could not do the same within the same amount
of time.
And that is for sure.

> 
>> I think it is necessary for every tuning apprentice / student / professional
>> to first tune thousands of pianos aurally in order to get trained properly,
>> develop a tuning 'ear' and so know by instinct how to make a decent tuning.
>> In that case, when the battery of the ETD is low he/she can continue solving
>> the Chinese puzzle.

> Not only that, but it's crucial to train your ear; it's crucial to
> really, really listen;
> it's crucial to FEEL like a craftsman, with a legacy---tuning IS
> music---and not just a machine operator.

I agree.

>> 
>> To make a - really - perfect tuning aurally, in one hour, is virtually
>> impossible.

> I agree; but 1.5 hours, no problem for me.  A pleasure, actually.  When
> it becomes a burden, I'll fly to Amsterdam and you can show me how to use
> your magic box, if you would honor me that way.

My friend, Dave Carpenter, the maker of the VT lives in Chicago !  (;>)
but you are most welcome to my house.
> 
>> For that we need a perfect tuning machine, and they now exist.
>> To make a - really - perfect tuning aurally costs a lot of time, at least
>> hours, and takes very much concentration and energy. Many of us know this,
>> and they also know that after four of these 'perfect' concert tunings we are
>> ready for 'home', and almost total loss.


> After 6-10 hours of intense focus on ANY kind of work---pianowork,
> writing, performing, recording---
> I need a break, and "home," and if not a "total loss," then certainly
> depleted and needing to be recharged.

Otherwise we 'd be like superman.
> 
>> 
> 
>> Of each unison I tune the middle string according to what the ETD tells me.
>> Than I shut off my 'magic box' and the 'artistic' or 'ear work' starts :
>> I tune the remaining strings and make the best tone possible by listening
>> with my musical ear and thereby choosing the right moment where the unison
>> is at its most beautiful.
>> Every tuner. every human being, has a different interpretation of 'tone', or
>> color and therefor every tuner will create a different 'tone' on the same
>> instrument.

> Absolutely right on; the great tuners I've heard all have a subtle sonic
> "style."
>> 
>> This is something an ETD can not do for us and that is the mistake ETD
>> antagonists make, they think the ETD replaces the ear! but that is not the
>> case. 
>> The very smart ETD is a very smart short cut to the 'right' pitch, and no
>> more.

> For you, fantastic. For me, no.  There is no right or wrong here, only
> different humans, and respect
> for customized, personalized craft.

OK...with all respect.
But I must tell you that I have tuned over 40 000 instruments by ear...
40 000...and I have stated this before. That is the very reason why I lost
interest in making the same puzzle over and over again and why I embraced
first the PT-100 and later the VT.
The VT is the instrument that makes a tuning I can not make in the same time
and....and..this is important..: I have a number of outstanding pianists as
client who were very skeptical about me getting out my magic box. After
explaining to them what this marvel was supposed to do for them and me they
gave me permission on condition that if they did not like it I would do it
over again with da ears.

They all almost wet their pants after hearing the result and some beg me to
come earlier than usual because they can not be without it anymore. It is
like dope to them.
And to me too.
Doubting can be healthy, but what does this story tell you? If I lied, or
fantasized, my colleagues here (in Europe, but also on the list) would put
an end to my follies, right? and I would be ashamed.
But I feel very confident about this matter,

Again, to ALL non-ETD'ers : I have the fullest respect for your opinions and
work methods. I would never want to press the matter as it is senseless and
egocentric.
It is just that most non-believers have not worked with the VT and it
therefor seems unbelievable.
I have also seen this more than once with tuners here who just started with
the thing... They all << got hooked and behave like very excited children
with a magic electronic toy.

Yo!


friendly greetings
from

Antares,

Amsterdam, Holland

"where music is, no harm can be"

visit my website at :  http://www.concertpianoservice.nl/