one mute

[David Andersen]

100% agree. Single mute tuning opens up new vistas of stability and  
precision; when it's practiced consistently, tunings get better, more  
musical, more "ringing," clearer. Your standard of listening, and of  
excellence, rise quickly.
David Andersen


On Mar 19, 2008, at 3:38 AM, Tom Servinsky wrote:

> I could go on and on about the benefits of tuning unisons as you  
> go. The bottom line is that you end up with a much more suitable  
> tuning for the piano when all strings of a unison are taken into  
> account. My temp strip is used for pitch adjustments and uprights  
> only, but other than that, it stays in the tool case.
>   I don't know about many of you, but I'm multi-tasking as I tune  
> as I'm voicing and dealing with false beats as I'm tuning the  
> unisons. When I'm finally finished with a particular unison it's  
> not only harmoniously in tune, but the unison is more stable and  
> I've had the opportunity to deal with the whole sound of the  
> unison/ hammer event.
>   .Making the adjustment to tune with a single mute requires some  
> major adjustments but once that you've started to feel more  
> comfortable with the procedure, you're tuning time diminishes  and  
> the amount of territory you cover increases.
> Tom Servinsky
> ----- Original Message -----
> From: David Ilvedson
> To: ilvey at sbcglobal.net ; pianotech at ptg.org
> Sent: Wednesday, March 19, 2008 12:39 AM
> Subject: RE: one mute
>
> I found this one mute sequence in the SAT III manual article by Jim  
> Coleman Sr.
>
> David Ilvedson, RPT
> Pacifica, CA 94044
>
> Original message
> From: "David Ilvedson"
> To: caut at ptg.org, pianotech at ptg.org
> Received: 3/18/2008 8:24:26 PM
> Subject: one mute
>
> Excuse me if this has been talked about (this may be David  
> Andersens muting sequence?...but I read it in the SAT III  
> manual...I think?)...
>
> I used a temp strip for years and in the last 5 to 10 years I've  
> been tuning unisons as I go.   I continued the temp strip format of  
> a mute on each side of the unison and tuned the middle string with  
> my SAT III and then tuned right to center and left to center.    
> I've never had any real problems, although in hindsight it did seem  
> I was re-tweaking already tuned strings within the unison quite a  
> bit...which I felt was another great thing about the ETD...    
> Anyhoo...I think this was Jim Coleman's method?...I can't seem to  
> find the place in the manual...he recommended tuning the right  
> string to the SAT (mute between middle-left string), tune left  
> string to the SAT (mute between middle-right string), then tune  
> middle to left string aurally, pull mute and there should be no  
> change in the unison, i.e. dead on.   Well, tonight at the Ballet I  
> tuned 2 pianos using this method and "epiphany"...first I was  
> finding my left string was consistently flat a cent or two.   The  
> unisons seemed more dead on...blooming...and I didn't have to re- 
> tune strings!   Really kind of annoying to discover this after 34  
> years...;-[  I mean how can the muting sequence make any  
> difference?   What I'm thinking is the 2 outside strings have a  
> string between them and the tuning an outside string doesn't effect  
> the other outside string?   I don't now...but it will be  
> interesting to go to the Ballet tomorrow afternoon and see if the  
> left string is not consistently flat...and the overall tuning...
>
> This really makes clear (imho) the necessity of getting rid of the  
> temp strip and tuning unisons as you go...with this muting sequence...
>
> This is probably nothing but old news too many of you, but if  
> someone finds it helpful...
>
> David Ilvedson, RPT
> Pacifica, CA 94044

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