<WBR>I've been doing unisons as I go for about 4 years now, (I don't have a temperament strip any more as I use this method for pitch raises). But I do it the way David does, or did. I have not tried it Jim's way. I'll try it today, and see if there is a difference. As with David and Tom, I think I do get a much better tuning. I use my SAT to tune the whole piano, and then turn it off, and aurally double check my tuning. I find that I hear the unisons better the second time around, especially when I use octave and fifths as <A class=spell id=sp-4 title="Click here to replace with: ac heck, ache ck, check, checks, ache, checked, checker" href="#" __doClobber__="true">a check</A>. The (bad) unisons really stick out that way. <br>
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<div style="CLEAR: both"><A class=spell id=sp-10 title="Click here to replace with: Will em, Wile, Willie, Ileum, While, Will, Willed" href="#" __doClobber__="true">Willem</A> (<A class=spell id=sp-11 title="Click here to replace with: Swim, Whim, Wimp, Win, WI, WWI, Wm" href="#" __doClobber__="true">Wim</A>) <A class=spell id=sp-12 title="Click here to replace with: Lees, Bleeds, Bleeps, Bees, Bales, Bless, Blest" href="#" __doClobber__="true">Blees</A>, RPT<br>
Piano Tuner/Technician<br>
Honolulu, HI<br>
Author of <br>
The Business of Piano Tuning<br>
available from Potter Press<br>
www.pianotuning.com</div>
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-----Original Message-----<br>
From: Tom <A class=spell id=sp-15 title="Click here to replace with: Stravinsky, Servings, Serbians, Serving, Servants, Servos, Services" href="#" __doClobber__="true">Servinsky</A> <tompiano@bellsouth.net><br>
To: ilvey@sbcglobal.net; Pianotech List <pianotech@ptg.org><br>
Sent: Wed, 19 Mar 2008 12:38 am<br>
Subject: Re: one mute<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 <A class=spell id=sp-16 title="Click here to replace with: Stravinsky, Servings, Serbians, Serving, Servants, Servos, Services" href="#" __doClobber__="true">Servinsky</A></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 <A class=spell id=sp-5 title="Click here to replace with: Lovesome, Milestone, Diversion, Lived, Lives, Milestones, Overdone" href="#" __doClobber__="true">Ilvedson</A></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>
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<div align=left>I found this one mute sequence in the SAT III manual article by Jim Coleman Sr. <br>
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David <A class=spell id=sp-6 title="Click here to replace with: Lovesome, Milestone, Diversion, Lived, Lives, Milestones, Overdone" href="#" __doClobber__="true">Ilvedson</A>, RPT<br>
<A class=spell id=sp-13 title="Click here to replace with: Pacific, Pacifically, Pacificator, Pacification, Pacificators, Specific, Pacifies" href="#" __doClobber__="true">Pacifica</A>, CA 94044<br>
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Original message<br>
From: "David <A class=spell id=sp-7 title="Click here to replace with: Lovesome, Milestone, Diversion, Lived, Lives, Milestones, Overdone" href="#" __doClobber__="true">Ilvedson</A>" <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>
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<div align=left>Excuse me if this has been talked about (this may be David <A class=spell id=sp-1 title="Click here to replace with: Andersen's, Andersen, Anderson, Anders, Adverseness, Adherents, Endorses" href="#" __doClobber__="true">Andersens</A> muting sequence?...but I read it in the SAT III manual...I think?)...</div>
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<div>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 <A class=spell id=sp-2 title="Click here to replace with: EDT, TED, ED, TED, ED, ET, TD" href="#" __doClobber__="true">ETD</A>... <A class=spell id=sp-3 title="Click here to replace with: Anyhow, Manhood, Any, Anthology, Andy, Danny, Anthropoid" href="#" __doClobber__="true">Anyhoo</A>...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...</div>
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<div>This really makes clear (<A class=spell id=sp-9 title="Click here to replace with: mho, Imo, limo, Limon, Nihon, Simon, Timor" href="#" __doClobber__="true">imho</A>) the necessity of getting rid of the temp strip and tuning unisons as you go...with this muting sequence...</div>
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<div>This is probably nothing but old news too many of you, but if someone finds it helpful...</div>
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<div>David <A class=spell id=sp-8 title="Click here to replace with: Lovesome, Milestone, Diversion, Lived, Lives, Milestones, Overdone" href="#" __doClobber__="true">Ilvedson</A>, RPT<br>
<A class=spell id=sp-14 title="Click here to replace with: Pacific, Pacifically, Pacificator, Pacification, Pacificators, Specific, Pacifies" href="#" __doClobber__="true">Pacifica</A>, CA 94044<br>
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