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rightMargin=7>I used a temp strip for years but once I got into=
tuning with an ETD, I've gone to 2 mutes. Any=
appreciable tension change, mute free or not means a second=
pass. That's a given right? "Fine Tuning"=
means the tension is withing a cent or 2. I'd be=
interested in knowing if temp strip tuners are stripping off the=
entire piano before proceeding? <BR><BR>David=
I.<BR><BR><BR><BR><BR>
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Original message<BR>From: <BYEWAY222@AOL.COM><BR>To:=
<PIANOTECH@PTG.ORG><BR>Received: Thu, 21 Jul 2005 08:06:41=
EDT<BR>Subject: Re: Moving from Uprights to Grands<BR><BR><FONT=
id=role_document face=Arial color=#000000 size=2>
<DIV align=left>Hi, Susan and Michael et al,</DIV>
<DIV>The whole business of strip muting for either the=
temperament octave or even into the further reaches of the piano=
has alway been controversial here in UK. Probably like=
Michael I was trained very traditionally, to discard=
the strip mute quite early on and rely on one's ear for laying=
the temperament with just two wedges. It has always been=
looked down upon in the profession here if a tuner still=
has to use a temperament strip, almost suggesting that his/her=
ear is not reliable enough to do without it. The analogy=
being a baby's walking frame I suppose! =
Because of this early influence I can actually feel=
'ashamed' if I resort to using a strip or rubber gang=
mute on a difficult piano. Do i need psychoanalysis? =
However, I could actually argue pretty stongly in favour of=
using them with very small grands and uprights where=
inharmonicity is so pronounced that setting an acceptable=
temperament can take more than one pass, and using this aid=
would be quicker. When this topic comes under discussion=
over here it is generally argued that the temperament is not=
exactly the same when you return to complete the unisons and=
that the whole excercise can be more time consuming.</DIV>
<DIV>It would be interesting to know what proportion of tuners is=
'mute free'</DIV>
<DIV>Ric</DIV></FONT></DIV></BODY></HTML>