<html><head><style type="text/css"></style></head><body><div style="font-family:times new roman,new york,times,serif;font-size:12pt;color:#000000;"><div>David Nereson said:<br>Oh, OK -- so, one isn't really "cracking" a unison, but rather, <br>refining the temperament.<br><br>Ryan Sower's explanation is pretty spot on.  It's just a method of making minute adjustments to a note to put it exactly where you want it.  It doesn't have to be done only in the temperament, unison cracking can be utilized across the keyboard at any point that there are two or more strings oscillating (bass unison cracking is a cinch, it's quite easy to make a change with just two strings--didn't you say you didn't even bother muting off the bass when you tune, Ryan?).<br><br>I'm generally very much against tuning a "rolling" unison--though there are a few exceptions (e.g., maybe to liven up a note or two before a performance, if the voicing couldn't be addressed in a short time, plus a follow up is expected later).  The more spot on the unison, the better/cleaner the piano sounds, and you can make more informed decisions about tuning quality and correctness, tone, and voicing.  I've talked at length with some people who prefer to tune a "bloom" into the unison.  I always ask them: Do you do it consistently for <span style="font-style: italic;">every</span> note?  And, aren't you running the risk of the unison sounding worse more quickly as the piano begins to drift out of tune?<br><br>-Ben Gac, RPT<br><br></div> </div></body></html>