<HEAD> <META content="MSHTML 6.00.2900.2180" name=GENERATOR></HEAD> <BODY> <DIV> <META content="MSHTML 6.00.2900.2180" name=GENERATOR> <DIV>Marshall-</DIV> <DIV>Now we get some clarity.</DIV> <DIV>Only a precise understanding will do.</DIV> <DIV>Use one Coleman card.</DIV> <DIV>Hold down the first note and "ghost" the rest of the series.</DIV> <DIV>Learn this for every note.  Every note.  It gets easier as y= ou learn.</DIV> <DIV>Without this, you can't know what we're talking about.</DIV> <DIV>It's the most important thing for a tuner to know. No way around it!</= DIV> <DIV>Reblitz is a mechanic, not a tuner.  I don't like his book.</DIV> <DIV>Ed Sutton<BR><BR><BR>-----Original Message----- <BR>From: pianotune05 = <PIANOTUNE05@COMCAST.NET><BR>Sent: Jan 8, 2006 1:19 PM <BR>To: ed440@mindsp= ring.com <BR>Subject: Re: electronic pitch source <BR><BR></DIV><ZZZHTML><Z= ZZHEAD><ZZZMETA content="text/html; charset=iso-8859-1" http-equiv="C= ontent-Type"><ZZZMETA content="MSHTML 6.00.2900.2802" name="GENERATOR"> <STYLE></STYLE> </ZZZHEAD><ZZZBODY bgColor="#ffffff"> <DIV><FONT face=Arial>HI Ed,</FONT></DIV> <DIV><FONT face=Arial>I have somewhat of a bisic understandig of partials= by watching Jim coleman demonstrate them on his beat locator cards on the = Randy Potter video.  I just have trouble remember what they are. = IF I play f3 for example I have trouble remember what comes after the next= note etc.  Each note has a series of partials in them that make up th= e fundimental tone.  Remember which notes they are is a little confusi= ng, but knowing that each note has a partial series and a fundimental I do = k now.  I"ve read Reblitz a couple of times, but does he go through an= d identify the partial series of the different notes?</FONT></DIV> <DIV><FONT face=Arial>Marshall</FONT></DIV> <BLOCKQUOTE dir=ltr style="PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGI= N-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=ed440@mindspring.com href="mailto:ed440@mindspring.c= om">ed440@mindspring.com</A> </DIV> <DIV style="FONT: 10pt arial"><B>To:</B> <A title=pianotune05@comcast.n= et href="mailto:pianotune05@comcast.net">pianotune05@comcast.net</A> </DI= V> <DIV style="FONT: 10pt arial"><B>Sent:</B> Sunday, January 08, 2006 8:29 = AM</DIV> <DIV style="FONT: 10pt arial"><B>Subject:</B> Re: electronic pitch source= </DIV> <DIV><BR></DIV> <DIV>Marshall-</DIV> <DIV> </DIV> <DIV>If someone taught you to check A4 with F3, they don't know how to tune= a piano.</DIV> <DIV>Do you know the overtone series? (Also called partial series)</DIV> <DIV>Do you know what coincident partials are?</DIV> <DIV>These are the first things you need to know.  If you know them, y= ou can figure out almost every problem of tuning for yourself.  If you= don't know them, you won't really understand the answers, even if someone = gives you the right answer.</DIV> <DIV>1) You need to be able to play an overtone (partial) series on any not= e, up to the 8th partial.</DIV> <DIV>2) You need to be able to find the "least coincident partials" between= any two notes, and especially between thirds, fourths and fifths.</DIV> <DIV>You need to stop everything and learn these two skills.  It may t= ake a few days to learn them.  Eveything will begin to make sense when= you have these skills.</DIV> <DIV> </DIV> <DIV>Sincerely,</DIV> <DIV>Ed Sutton<BR><BR><BR>-----Original Message----- <BR>From: pianotune05@= comcast.net <BR>Sent: Jan 7, 2006 9:05 PM <BR>To: ed440@mindspring.com, Pia= notech <PIANOTECH@PTG.ORG><BR>Subject: Re: electronic pitch source <BR><BR>= </DIV><ZZZHTML><ZZZBODY> <DIV><FONT face="Arial, Helvetica, sans-serif">Hi Ed,</FONT></DIV> <DIV><FONT face=Arial>Yes, I use the f2 test for the fork. I find that f3= doesn't work that well fo rme anyway.  I was taught to use f3 but I a= lready knew about the f2 test from seeing Jim Coleman do it on the Randy Po= tter video.  </FONT></DIV> <DIV><FONT face=Arial></FONT> </DIV> <DIV><FONT face=Arial>Speaking of test, how you test octaves when you get= way up in the trebble?  Do you use 17th exclusively, or is there anot= her test I could use?  I know that for 4ths the third sixth test works= and for 5ths, the major third minor third works, minor third is the first = and major is the scond interval.  They are to beat at the same rate I = think. Is that correct?</FONT></DIV> <DIV><FONT face=Arial>Marshall</FONT></DIV> <DIV> </DIV> <BLOCKQUOTE style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #101= 0ff 2px solid">-------------- Original message -------------- <BR>From: ed4= 40@mindspring.com <BR><BR>> Marshall- <BR>> <BR>> My Walker blue f= ork is calibrated to armpit temperature, and is accurate to <BR>> within= plus or minus 0.3cents of 440hz, since I must remove it from my armpit <BR= >> briefly to use it. I have not been able to get this close a result wi= th the <BR>> nickel plated fork, but perhaps I've been impatient with ar= mpit warming time on <BR>> the larger fork. <BR>> <BR>> You need n= ot worry about this if you're getting the Acufork. <BR>> <BR>> I hope= you're using the F2 test note method. It should be very accurate with <BR>= > the Acufork, as you can have a long period of time to count comparison= beats. <BR>> <BR>> Ed <BR>> <BR>> <BR>> > <BR>> >H= i Ed, <BR>> >Sorry for the delay in responding. I spend a couple of h= ours telemarketing <BR>> >my tuning services. I figure, by the time I= land some jobs tuning, I'll <BR>> >have been practicing at the same = time, and have more experience under my <BR>> >belt. <BR>> > <B= R>> >The fork I have is the blue walker fork, blued steel I think it'= s called. <BR>> >They have nickel plated ones as well, but I don't ko= nw anything about the <BR>> >properties of these forks. I like the id= ea of the acufork because I don't <BR>> >have to worry about striking= the fork, listening, adjusting the pin, fooling <BR>> >with the mute= etc. It would save me time,to just leave it on and adjsut the <BR>> &gt= ;note to meet the right pitch. I might treat myself to one for an early bda= y <BR>> >present and make 41 a good year like 40 has been. <BR>> &= gt;Marshall <BR>> >----- Original Message ----- <BR>> >From: <E= D440@MINDSPRING.COM><BR>> >To: <PIANOTECH@PTG.ORG><BR>> >Sent: = Saturday, January 07, 2006 2:48 PM <BR>> >Subject: electronic pitch s= ource <BR>> > <BR>> > <BR>> >> RicB wrote: Dean Reybur= n used to offer <BR>> >> an electronic pitch source that was quite= inexpensive. Seiko I think, <BR>> >> and they were not exactly on= the nose... but within a 0.5 cent window or <BR>> >> something. <= BR>> >> <BR>> >> Ric- <BR>> >> The Seiko is fine= for calibrating electronic devices, but not aural <BR>> >> tuning= . It has an extremely loud second partial and a very soft first <BR>> &g= t;> partial. <BR>> >> <BR>> >> Marshall- <BR>> >= > For the time being, you might do better to carry your fork in your poc= ket, <BR>> >> and maybe get it calibrated to pocket temperature. (= I'm assuming it's a <BR>> >> steel fork. Aluminum forks are too te= mperature sensitive.) <BR>> >> <BR>> >> The Sanderson too= l gives four pitches, so it's not much more expensive <BR>> >> tha= n four top quality forks, not to mention the 50cents sliding scale. I <BR>&= gt; >> want one, too. <BR>> >> <BR>> >> Ed Sutton <= BR>> >> <BR>> >> ________________________________________= _______ <BR>> >> pianotech list info: http://www.ptg.org/mailman/l= istinfo/pianotech <BR>> > <BR>> <BR>> _________________________= ______________________ <BR>> pianotech list info: http://www.ptg.org/mai= lman/listinfo/pianotech </BLOCKQUOTE></BLOCKQUOTE></ZZZBODY></ZZZHTML></ZZZ= BODY></ZZZHTML></DIV></BODY>