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<DIV><FONT face="Century Schoolbook" size=2>IMHO, create more time for your
appointments and charge accordingly. </FONT></DIV>
<DIV><FONT face="Century Schoolbook" size=2>Tom Servinsky</FONT></DIV>
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style="PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
<DIV style="FONT: 10pt arial">----- Original Message ----- </DIV>
<DIV
style="BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: black"><B>From:</B>
<A title=ben@benspianotuning.com href="mailto:ben@benspianotuning.com">Ben
Gac</A> </DIV>
<DIV style="FONT: 10pt arial"><B>To:</B> <A title=pianotech@ptg.org
href="mailto:pianotech@ptg.org">Pianotech Mailing List</A> </DIV>
<DIV style="FONT: 10pt arial"><B>Sent:</B> Tuesday, August 19, 2008 11:12
PM</DIV>
<DIV style="FONT: 10pt arial"><B>Subject:</B> Re: Re:Tuning stability and
efficiency</DIV>
<DIV><BR></DIV>Thanks for your input! I wasn't intentionally trying to
use the exact amount of 10-15 cents to make my point (as an aural tuner, I
guess I should have specified a beat rate, but you get the picture). So
it seems to me--unless the piano is AT PITCH, if one really would like to do a
stable tuning, he/she should always make two passes? That would add
about a half hour to a normal tuning time, wouldn't it? Do you
"two-passers" fit that into your normal tuning fee? <BR><BR>I'd like to
think that I have a pretty good set of ears on me, and while it's quite simple
to only listen to one string at a time I certainly can fully appreciate the
sound of a tuned unison used as a test note. <BR><BR>What advice do you
have for someone who has a slew of clients with pianos that aren't quite
"pitch raise material", but certainly off the mark from "at pitch"? Can
it be done in one pass, or should I begin booking a little more time for my
appointments, and charging accordingly? <BR><BR>-Ben<BR><BR>
<DIV><FONT face="Century Schoolbook" size=2>Ben</FONT></DIV>
<DIV><FONT face="Century Schoolbook" size=2>Unless the piano is at pitch
before you start the tuning, all bets are off with stability. If the piano is
10-15 cents flat then, by all means, mute strip the piano and do a full pitch
raise. Then once the piano is in the ballpark, then tuning unisons as you go
will deliver a very stable tuning.</FONT></DIV>
<DIV><FONT face="Century Schoolbook" size=2>That being said, tuning unisons as
you go also requires very advance tuning skills. I'm a big advocate for single
mute tuning and find that it yields not only good stability but a better
illustration of inharmonicity issues. But it also requires the tuner to
have an absolutely solid grasp over the tuning procedure, otherwise the
process will take too long and become a laborious process.</FONT></DIV>
<DIV><FONT face="Century Schoolbook" size=2>If you are relatively young to the
business, use the strip mute and gain better control over the process. As you
get better and better, start experimenting with pianos which
are already in pretty decent tune and do a complete tuning using nothing but
2- 3 wedge mutes. You'll find that you become much more sensitive to your
octave, fourths, and fifths presentations. You'll also find that you'll pay
more attention to making a very clean, useable unison which can be used
throughout the tuning process.</FONT></DIV>
<DIV><FONT face="Century Schoolbook" size=2>Tom
Servinsky</FONT></DIV><BR><BR><BR></BLOCKQUOTE></BODY></HTML>