<html> <body> Gene, I do use a Verituner VT100 so I can watch what is going on.  On a concert grand I overpull as much as 18% of the amount the strings were flat..  On a little spinet as little as 8%.  No overpull means I will have to pull up again on the second pass.  I personally prefer settling down a little over trying to pull up a little. Andrew Anderson At 07:49 PM 7/9/2007, you wrote: <blockquote type=cite class=cite cite="">I do not like to overpull the bass on a pitch raise. It is usually not necessary and overpulling wound strings can be more risky for breaking than plain strings as they can be much closer to the break point. Gene Nelson <dl> <dd>----- Original Message ----- <dd>From: <a href="mailto:shawn_brock@comcast.net">Shawn Brock</a> <dd>To: <a href="mailto:pianotech@ptg.org">Pianotech List</a> <dd>Sent: Thursday, January 01, 2004 7:01 PM <dd>Subject: Re: Tuning sequence question <dd>Jeff, <dd>that's how I do it.  When I use a strip I tune the middle of the piano and pull the strip out to tune the unisons.  Its my belief that stripping the hole piano, or damn near the hole piano makes for an unstable tuning in the end.  When possible I prefer to use just one wedge mute.  Through experiment I have found the tuning is more stable with this process.  When tuning just one string and bringing two others in after going through most of the piano I have found that a lot of times the temperament goes a little wild.  Its not a question of tuning hammer technique on my part because for some reason I have been blessed with good stability when being tested.  It Any how...  Just my thoughts.  When using the strip I always tune the temperament and middle of the piano and the unisons next.  I know some tuners who just strip the temperament and nothing else.  Hope this helps. <dl> <dd>----- Original Message ----- <dd>From: <a href="mailto:thetuner@ivories52.com">Geoff Sykes</a> <dd>To: <a href="mailto:pianotech@ptg.org">'Pianotech List'</a> <dd>Sent: Sunday, July 08, 2007 5:05 PM <dd>Subject: Tuning sequence question <dd>Greetings all -- <dd>  <dd>I know that when using an ETD the preferred method of tuning is from the bass up to the treble, tuning unisons as you go. Tests have apparently proven that this provides a more accurate and stable tuning when completed. <dd>  <dd>Traditionally, aural tuning means strip muting the entire piano, and after setting the temperament, all the center strings are then tuned moving first down into the bass and then up into the treble. After the center strings are tuned then unisons are set starting in the bass and moving up through the treble. <dd>  <dd>In doing an aural tuning, is there any reason why one could not, or perhaps should not, strip mute just the middle section of the piano, in order to set the temperament, then immediately set the unisons in the temperament, pulling out the strip mute as you go, followed by moving down into the bass tuning the first string and setting unisons as you go and subsequently up through the treble? <dd>  <dd>In other words, which aural tuning method of the two described above, would produce the more accurate and stable tuning when completed? <dd>  <dd>-- Geoff Sykes <dd>-- Los Angeles </dl> </dl></blockquote></body> </html>