<html xmlns:v="urn:schemas-microsoft-com:vml" xmlns:o="urn:schemas-microsoft-com:office:office" xmlns:w="urn:schemas-microsoft-com:office:word" xmlns:m="http://schemas.microsoft.com/office/2004/12/omml" xmlns="http://www.w3.org/TR/REC-html40"><head><meta http-equiv=Content-Type content="text/html; charset=us-ascii"><meta name=Generator content="Microsoft Word 14 (filtered medium)"><style></style></head><body lang=EN-US link=blue vlink=purple><div class=WordSection1>On occasion I do the same thing as Susan while using this method.  <o:p></o:p><o:p> </o:p>While no one method works on all pinblocks (nothing works on some!), this slow drag is my go to day to day tuning method.  It works well with most pianos, not just the trouble monsters.  Generally, as I am dragging the pin up to pitch I am hitting the note a couple of times per second.  If you have a nice tuning rhythm going, you’ll get a feeling of just when the pin is going to drop in and land on a dime on the octaves, and the unisons as well.  When the piano has a reasonably good  block, I can hit it on the first try 75 to 80% of the time, and be stable – even in the top octave.  I also use this method when doing concert tuning.  <o:p></o:p><o:p> </o:p>Will Truitt<o:p></o:p><o:p> </o:p><o:p> </o:p><o:p> </o:p>From: pianotech-bounces@ptg.org [mailto:pianotech-bounces@ptg.org] On Behalf Of John Ashcraft Sent: Tuesday, January 22, 2013 4:27 PM To: pianotech@ptg.org Subject: Re: [pianotech] Reducing tuning time (was Re: frustrated)<o:p></o:p><o:p> </o:p>I use that (ease up in pitch with vigorous blows) technique on old Knabe grands, to name the certain kind of piano where I find the technique necessary.<o:p></o:p><div>--John Ashcraft<o:p></o:p><div>On Mon, Jan 21, 2013 at 5:06 PM, Susan Kline <<a href="mailto:skline@peak.org" target="_blank">skline@peak.org</a>> wrote:<o:p></o:p><div>There is a certain kind of piano which I find has better stability if I very slowly ease up to the pitch but not beyond, beating pretty vigorously on the note as I go. If one pulls the pitch over, and then attempts to bang it back down, one should go as little over as possible. The smaller the adjustments, the better the stability will be. Susan<o:p></o:p><div><div> Elwood Doss wrote: <o:p></o:p><pre>IF you want to keep your customers, especially those with discriminating hearing, you will be sure to set the strings and pins.  Not only will strings and pins relax and go out of tune while you're tuning but often they will slowly relax and go out of tune after the piano tuner is gone.  Also when the customer is playing the piano the strings can slip out of tune.  Time is important, but that 10 minutes you save could cost you customers.  It is tempting to pull the string up to pitch and leave it, but I would resist the temptation, especially if you want to have a lasting quality outcome.<o:p></o:p></pre><pre>Joy!<o:p></o:p></pre><pre>Elwood Doss, Jr.<o:p></o:p></pre><pre><o:p> </o:p></pre><pre>-----Original Message-----<o:p></o:p></pre><pre>From: Duaine Hechler [<a href="mailto:dahechler@att.net" target="_blank">mailto:dahechler@att.net</a>] <o:p></o:p></pre><pre>Sent: Sunday, January 20, 2013 5:36 PM<o:p></o:p></pre><pre>To: <a href="mailto:pianotech@ptg.org" target="_blank">pianotech@ptg.org</a><o:p></o:p></pre><pre>Subject: Re: [pianotech] Reducing tuning time (was Re: frustrated)<o:p></o:p></pre><pre><o:p> </o:p></pre><pre>The one thing that, in my last couple of tunings, I am trying to do is to concentrate on - not - going way sharp before honing in on the unisons. I shaved off about 10 minutes, the last couple of times.<o:p></o:p></pre><pre><o:p> </o:p></pre><pre>Do most of you come up to pitch or go sharp then come back down?<o:p></o:p></pre><pre><o:p> </o:p></pre><pre>I learned to go sharp then come back down, except in the high tenor, I seem to here it better coming up to pitch.<o:p></o:p></pre><pre><o:p> </o:p></pre><pre>Thanks, Duaine<o:p></o:p></pre><pre><o:p> </o:p></pre><pre>On 01/12/2013 04:41 PM, Mike Kurta wrote:<o:p></o:p></pre><pre>  <o:p></o:p></pre><blockquote style='margin-top:5.0pt;margin-bottom:5.0pt'><pre>    I had my wife sew two lengths together.  Voila! Now I have only <o:p></o:p></pre><pre>one mute strip to contend with.  Length is no problem, when I put it away I fold it in half length, half again, and lay it in my case. Easy.<o:p></o:p></pre><pre>    Mike Kurta<o:p></o:p></pre><pre><o:p> </o:p></pre><pre>    ----- Original Message -----<o:p></o:p></pre><pre>    *From:* Ron Nossaman <a href="mailto:rnossaman@cox.net" target="_blank"><mailto:rnossaman@cox.net></a><o:p></o:p></pre><pre>    *To:* <a href="mailto:pianotech@ptg.org" target="_blank">pianotech@ptg.org</a> <a href="mailto:pianotech@ptg.org" target="_blank"><mailto:pianotech@ptg.org></a><o:p></o:p></pre><pre>    *Sent:* Saturday, January 12, 2013 9:45 AM<o:p></o:p></pre><pre>    *Subject:* Re: [pianotech] Reducing tuning time (was Re: <o:p></o:p></pre><pre>frustrated)<o:p></o:p></pre><pre><o:p> </o:p></pre><pre>    On 1/12/2013 8:06 AM, <a href="mailto:tunerboy3@comcast.net" target="_blank">tunerboy3@comcast.net</a> <a href="mailto:tunerboy3@comcast.net" target="_blank"><mailto:tunerboy3@comcast.net></a> wrote:<o:p></o:p></pre><pre><o:p> </o:p></pre><pre>    > You order it like one solid piece, something like 72" or 84" long or<o:p></o:p></pre><pre>    > so, and cut to desired length or, don't cut it at all.  I ordered 6<o:p></o:p></pre><pre>    > or 10 of them so I could experiment with it.  I wound up cutting one<o:p></o:p></pre><pre>    > of them down the center all the way and using that one in the treble.<o:p></o:p></pre><pre><o:p> </o:p></pre><pre>    I cut a strip diagonally down it's length and get two tapered lengths.<o:p></o:p></pre><pre>    Ideal in verticals to get around the dampers in that last section where<o:p></o:p></pre><pre>    there's no room  - especially in Baldwins. A full width strip works very<o:p></o:p></pre><pre>    well in the bass, or two of them if one leaks too much. Pearl River<o:p></o:p></pre><pre>    passed out a terrific strip at the convention one year. Thin action<o:p></o:p></pre><pre>    cloth sewed to buckskin (or Ecsaine, but it acts like buckskin). Best<o:p></o:p></pre><pre>    tenor strip I've ever used in grands. I've wished I had managed to get a<o:p></o:p></pre><pre>    couple more, but they were pretty protective of them and they wouldn't<o:p></o:p></pre><pre>    be difficult to make when the one I have gives up the ghost.<o:p></o:p></pre><pre><o:p> </o:p></pre><pre><o:p> </o:p></pre><pre>    >  I don't now why but string spacing tends to<o:p></o:p></pre><pre>    > be a little greater in the tenor on verticals than in the treble.<o:p></o:p></pre><pre><o:p> </o:p></pre><pre>    Fan angles, I'd say. I use a narrow strip of thicker action cloth here.<o:p></o:p></pre><pre>    Ron N<o:p></o:p></pre><pre><o:p> </o:p></pre><pre>    <o:p></o:p></pre></blockquote><pre>--<o:p></o:p></pre><pre>Duaine Hechler<o:p></o:p></pre><pre>Piano, Player Piano, Pump Organ - Tuning, Servicing & Rebuilding<o:p></o:p></pre><pre><a href="tel:%28314%29%20838-5587" target="_blank">(314) 838-5587</a> / <a href="mailto:dahechler@att.net" target="_blank">dahechler@att.net</a> / <a href="http://www.hechlerpianoandorgan.com" target="_blank">www.hechlerpianoandorgan.com</a> Home & Business user of Linux - 13 years<o:p></o:p></pre><pre><o:p> </o:p></pre><pre><o:p> </o:p></pre><pre><o:p> </o:p></pre><pre>  <o:p></o:p></pre></div></div></div></div><o:p> </o:p></div></div></body></html>