Strip mutes was . . Re: Moving from Uprights to Grands

[Michael Gamble]

Well said David! Interesting subject isn't it? One must not get "hot under 
the collar" when discussing these things for there is such a lot to learn 
and we won't ever learn it all - but we can try! I favour the use of one 
mute only technique in the general tuning of pianos. I used to use two mutes 
but that was when I used to tune from a tuning fork...  all those aeons ago! 
Now I use a trusty ETD just for the bearing octave - but even so I always do 
a check by playing M3's chromatically so soon as the chance permits. One 
gets to know instinctively how fast the beats go and having learned that one 
goes to listening out for other intervals - M10's and M17's. I suppose one 
should bear in mind the inescapable relationship of the doubling of the 
frequencies with every upward octave. Ask yourself  "If that much change 
occures within one octave how gradual is the change from semi-tone to 
semi-tone within that octave?" The answer is that it follows the curve 
plotted by the frequencies of the octave points. There is a mathematical 
equation the 12th. root of 2 (if memory serves me aright) And this is 
important to appreciate, for until it is understood and appreciated the 
importance of those beats will for ever escape you! For me these beats are 
my very own "invisible tool" without them I am lost and I might as well be a 
refuse collector (and earn good money and have no responsibilities 
and....and.... Gosh!)
Then comes that interesting chap Virgil Smith and his Phenomenon. This is 
more readily appreciated by those who tune up their guitars, violins 'cellos 
etc. for these are wooden instruments and the effect of tuning one string 
can have a dramatic effect on the others. Which is why I developed my 
"Quadrant Method" for pitch raising (and lowering - it works both ways!) 
With it I use the V.S.P (Virgil Smi..) to my advantage and can pitch raise 
up to a whole tone in one pass and only have to touch in with a fine tune at 
the end. And a "fine tune" does not mean "within 2 cents" it means within NO 
cents - it simply has to be 100% right. Strive for that "and you'll be a man 
my son!" (apologies to Rudyard K)
End of Sermon according to Sf.Mihai    :-)
----- Original Message ----- 
From: <david@davidandersenpianos.com>
To: "Pianotech" <pianotech@ptg.org>
Sent: Thursday, July 21, 2005 5:58 PM
Subject: Re: Strip mutes was . . Re: Moving from Uprights to Grands


>  What  about my point, 'is the muted
>> temperament exactly the same when you return  to complete the unisons'?
>> Ric
>
>
> No, it never is, due to the "Virgil Smith Phenomenon," the fact that there
> are micro-incremental pitch shifts when you move one string of a unison,
> then move others later.  Unless and until you perceive these distortions,
> and can compensate for them, you will never accomplish a truly master
> tuning, suitable for performance or recording.
>
> I threw away the temperament strip 4 years ago, and I've literally thanked
> God for the gift ever since.  After the first 2 weeks of fear and worry.
> <g> Every tuning, now, stays where I put it, and is rock-solid stable,
> because with just a couple of mutes, you end up doing a little mini-pitch
> raise on each note, and it's SOCKED IN HARD, brothers and sisters.
>
> My advice? Propel yourself toward the High End by discarding the strip and
> going old school; it will double your ability to hear precise changes in
> pitch and tone in a very short time, and your tunings will become more and
> more beautiful and musical.  and LET'S BE HONEST: if your tuning sounds
> better than other peoples' work, YOU WIN---because, regardless of some
> technicians' belief or excuse that "people can't really tell the
> difference anyway"---which is completely and totally FALSE in my
> experience over 30 years---if the piano sounds better than it has before,
> your reputation grows, and you become like a wizard to your client.
>
> End of sermon....go in peace.
>
> David Andersen
>
>
>