etds and ears

[John Dorr]

Fenton wrote:
  
Hey Dave, Hey David,
I've long ago given up thinking that ETD's are in any way inferior. After 30
years I can still say I have never owned one, as a matter of fact I don't
think I have spent more that an hour with one. As for the school tunings,
etc. I can go on auto pilot with my ears. I can day dream about anything I
want (opps) and churn out a tuning in 30 minutes. Or, I can spend 2 hours
dissecting every interval up and down the keyboard, spending time locating
10-5 and 12-6 octaves in the bass. I can go as far as I want, or rip through
a temperment and octave up and down with 4th and 5th checks, then a quick
chromatic 10ths and double octaves, maybe octave 5th in the treble, this
stuff goes lighting fast if I want it to. I think an ETD would just slow me
down. I just can't see how a ETD could make something like school tunings
easier. If I were to start using one, it would probably be to enable me to
tune a piano better, in a critical situation, but I really have no
experience with them so I can't say. I would think that they are simply
another tool that can be used to improve one work if one is skilled in their
usage. I can't see myself getting one though, I'm having too much fun
enjoying tuning as an art, I'm still learning. And, I don't think my clients
would like it.
Fenton

  
Thank you for that post, Fenton.  And to many others.  I've enjoyed lurking 
and reading this thread.  I would like to know from Fenton and from others how 
they manage a pitch range aurally.  I've often thought of going completely to 
aural tuning but am worried about how exactly to estimate overpull, and make 
it as efficient and close as my SAT does in one pass when in pitch range mode. 
 I've also heard that it's a preferred method to go from bottom to top, 
unisons as you go, when raising/correcting pitch.  I'd love to hear aural 
tuners' takes on this.  (Understand I'm sincerely curious and NOT challenging 
anybody)
  
I started as a strictly machine tuner when Dick Beaton, RPT, came to me with 
this SAT and said, "Give me $500 for this and start tuning for pay.  I'll 
teach you how to use it."  Soon after, I was in love with the business and 
attended a PTG NW conference where a rebuilder named "Scott" (I forget his 
last name, but he's loud and opinionated and obviously very GOOD at what he 
does -- maybe NOW you know who!) STRONGLY encouraged me to learn aural tuning. 
 He said it would make me a better machine tuner.  I WANTED to learn aural 
tuning, because I was always thinking while working, "What if this machine 
broke down while I was at a tuning?  What if I had to wait for it to be 
repaired and had to cancel bookings?"
  
Well, I DID learn aural tuning.  And I know more now what Scott meant.  I AM a 
better tuner now that I can check what the machine is doing and aurally 
correct its occasional missteps.  I tune a temperament sequence, checking 
every note.  Then I tune the bass in a hurry, then re-check each note aurally 
and then do the same for treble.  Thank you, Scott, if you're lurking 
anywhere.
  
I'm taking my tuning test in April at the PTG NW conference.  Wish me luck!
  
John Dorr, temporarily out of "lurk" mode,
Helena, MT