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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; font-color: black"><B>From:</B>
<A title=ilvey@sbcglobal.net href="mailto:ilvey@sbcglobal.net">David
Ilvedson</A> </DIV>
<DIV style="FONT: 10pt arial"><B>To:</B> <A title=ilvey@sbcglobal.net
href="mailto:ilvey@sbcglobal.net">ilvey@sbcglobal.net</A> ; <A
title=pianotech@ptg.org href="mailto:pianotech@ptg.org">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>
<DIV><FONT face="Century Schoolbook" size=2></FONT><FONT
face="Century Schoolbook" size=2></FONT><FONT face="Century Schoolbook"
size=2></FONT><FONT face="Century Schoolbook" size=2></FONT><BR></DIV>
<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"
<ILVEY@SBCGLOBAL.NET> </ILVEY@SBCGLOBAL.NET><BR>To: <A
href="mailto:caut@ptg.org">caut@ptg.org</A>, <A
href="mailto:pianotech@ptg.org">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>
<P> </P>
<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>
<P> </P>
<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>
<P> </P>
<P>This is probably nothing but old news too many of you, but if someone finds
it helpful...</P>
<P> </P>
<P>David Ilvedson, RPT<BR>Pacifica, CA
94044<BR></P></DIV></BLOCKQUOTE></BODY></HTML>