<br><br><div class="gmail_quote">On Sun, Jan 13, 2013 at 2:01 PM, John Formsma <span dir="ltr"><<a href="mailto:formsma@gmail.com" target="_blank">formsma@gmail.com</a>></span> wrote:<br><blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex">
<div dir="ltr">Me too...mostly. Strip muting is always faster for me. I do occasionally like to tune with two mutes. But the piano has to already be very close in tune for that to work well.<div><br></div><div>That's right. And most people's pianos are not, because they let them go too long. I'd say a good 2/3 to 3/4 of the pianos I tune, maybe more, need a pitch raise first, even if it's just 5 or 10 cents. But many of them are more like 15 to 30 cents flat. And a good percentage of them need the lost motion taken out first.<br>
</div></div></blockquote><div> Those two things of course use up almost the whole 2 hours allotted for the appointment, which is why there's almost never occasion to do any fine-regulating, touchweight modification, or voicing. All these high-level piano servicing classes offered at the conventions are great if you're working mostly for concert-level artists or even university piano professors, but "in the trenches" of real-world tuning for Mr. or Ms. average piano owner in the suburbs, there's almost never an opportunity to use that level of knowledge. Or the owners just don't have the funds or see the need for it at their beginner or amateur level of playing. (, all of which doesn't have anything to do with strip mutes, of course; just doing some minor venting here....)<br>
--David Nereson, RPT<br></div><blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex"><div dir="ltr"><div></div>
</div><div class="gmail_extra"><div><div class="h5"><br><br><div class="gmail_quote">On Sun, Jan 13, 2013 at 11:45 AM, Ron Nossaman <span dir="ltr"><<a href="mailto:rnossaman@cox.net" target="_blank">rnossaman@cox.net</a>></span> wrote:<br>
<blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex"><div>On 1/12/2013 6:24 PM, <a href="mailto:tnrwim@aol.com" target="_blank">tnrwim@aol.com</a> wrote:<br>
<br>
<blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex">
From that day on I stopped stripping the piano. Not only did it take 10<br>
minutes off my tuning time, but my unisons were much better, and the<br>
piano was much more stable. I now even do a pitch raise without a strip<br>
mute. But what's so ironic, I now actually take longer to tune, because<br>
after I use my SAT, I retune the piano aurally, again only using<br>
mutes. I think it has made me a much better tuner.<br>
</blockquote>
<br></div>
So you saved ten minutes by not strip muting, but you take longer to tune because you tune aurally after you tune with your SAT. Yea, makes perfect sense. Why don't you just tune aurally in the first place and save a whole bunch of time?<div>
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<br>
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<blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex">
For those of you "old timers" who say your too old to change,<br>
</blockquote>
<br></div>
Whoever THEY are. And it's "you're", not your.<br>
<br>
Personally, I strip mute the entire piano because I like it and it works. I used to tune from the temperament octave down, and up, chasing a mute. Then one day I decided to try strip muting everything. My tuning got both better and faster as a result and though a lot of details have changed, I've stayed with the strip mutes because it continues to work for me.<br>
Ron N<br>
</blockquote></div><br><br clear="all"><div><br></div></div></div><span class="HOEnZb"><font color="#888888">-- <br><div>John Formsma, RPT<br></div><div>Blue Mountain, MS</div>
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