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<div class="gmail_quote">On Wed, Mar 19, 2008 at 5:38 AM, Tom Servinsky <<a href="mailto:tompiano@bellsouth.net">tompiano@bellsouth.net</a>> wrote:<br>
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<div><font face="Century Schoolbook" size="2">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.</font></div>
<div><font face="Century Schoolbook" size="2"> 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 </font><font face="Century Schoolbook" size="2">with the whole sound of the unison/ hammer event. </font></div>
<div><font face="Century Schoolbook" size="2"> .</font><font face="Century Schoolbook" size="2">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</font><font face="Century Schoolbook" size="2">.</font></div>
<div><font face="Century Schoolbook" size="2">Tom Servinsky</font></div>
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<div style="FONT: 10pt arial">----- Original Message ----- </div>
<div style="BACKGROUND: #e4e4e4; FONT: 10pt arial"><b>From:</b> <a title="ilvey@sbcglobal.net" href="mailto:ilvey@sbcglobal.net" target="_blank">David Ilvedson</a> </div>
<div style="FONT: 10pt arial"><b>To:</b> <a title="ilvey@sbcglobal.net" href="mailto:ilvey@sbcglobal.net" target="_blank">ilvey@sbcglobal.net</a> ; <a title="pianotech@ptg.org" href="mailto:pianotech@ptg.org" target="_blank">pianotech@ptg.org</a> </div>
<div style="FONT: 10pt arial"><b>Sent:</b> Wednesday, March 19, 2008 12:39 AM</div>
<div style="FONT: 10pt arial"><b>Subject:</b> RE: one mute</div>
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<p align="left">I found this one mute sequence in the SAT III manual article by Jim Coleman Sr. <br><br>David Ilvedson, RPT<br>Pacifica, CA 94044<br><br></p>
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Original message<br>From: "David Ilvedson" <br>To: <a href="mailto:caut@ptg.org" target="_blank">caut@ptg.org</a>, <a href="mailto:pianotech@ptg.org" target="_blank">pianotech@ptg.org</a><br>Received: 3/18/2008 8:24:26 PM<br>
Subject: one mute<br><br>
<p align="left">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?)...</p>
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<p>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...</p>
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<p>This really makes clear (imho) the necessity of getting rid of the temp strip and tuning unisons as you go...with this muting sequence...</p>
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<p>This is probably nothing but old news too many of you, but if someone finds it helpful...</p>
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<p>David Ilvedson, RPT<br>Pacifica, CA 94044<br></p></div></blockquote></div></div></div></blockquote></div>
<div><br><br clear="all">I'm a dinosaur and still aurally tune so I have been using this method, which I developed on my own, years ago, with great success. I use a 3 mute squence, tune the 2 center strings then tune the outer unison of each to the center then the inner unison of each to the center. The reason it works so well is because the outer strings are usually the same wire as the inner(middle string)and the tension is equalized on both sides of the hitch pin faster. The same with the two "inner" strings as they are also the same wire abeit 1/2 tone difference in pitch. </div>
<div>Mike<br>-- <br>The greatest challenge to any thinker is stating the problem in a way that will allow a solution.<br>- Bertrand Russell<br><br>Michael Magness<br>Magness Piano Service<br>608-786-4404<br><a href="http://www.IFixPianos.com">www.IFixPianos.com</a><br>
email <a href="mailto:mike@ifixpianos.com">mike@ifixpianos.com</a> </div>