<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN"> <HTML><HEAD> <META http-equiv=Content-Type = content=text/html;charset=ISO-8859-1> <META content="MSHTML 6.00.2900.2802" name=GENERATOR> <STYLE></STYLE> </HEAD> <BODY text=#000000 bgColor=#ffffff> <DIV>Hmmmm. Just never noticed that the VT = takes all that long to calculate an overpull. Seems to me just a second or = two...... ????</DIV> <DIV> </DIV> <DIV>Terry Farrell</DIV> <BLOCKQUOTE dir=ltr style="PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; = BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px"> <DIV style="FONT: 10pt arial">----- Original Message ----- = </DIV>Look forward to hearing your = comparisons with pRCT. Right now, I carry the VT in a camera bag. It won't fit = in my tool case with the rest of my stuff, so that's what I'm doing for now. = It's a padded soft-sided case that has room for the manual and charger. A = camcorder case would also work well. One technique I use helps with pitch = raising and a one-pass tuning with overpull. It might also work well with RCT = and other ETDs that listen to each note to calculate overpull for that = individual note. The VT takes a while to measure the overpull, and this method = helps speed things up a bit because the machine calculates the needed = overpull before you are actually ready to tune that note. This method works = with the "leapfrog" way of using two rubber mutes, and it also works with strip = mutes. I use both, depending on whether I'm tuning a vertical or the spacing = of the strings on a grand won't allow good muting with a strip. This = method assumes you are tuning unisons as you go up and down the scale. = Basically, you will be playing the next note with your left hand as you are moving = the mutes and lever with your right hand. This allows the VT to calculate the = overpull while you are still working on tuning two other strings.  It's easier = to do than to describe in writing, so I hope you can make sense of it. Here goes.... I'm = assuming you are using two rubber mutes, have measured A4 and A3, and are = starting with the first tenor string...we'll assume the tenor begins with B2 and is = a trichord. You have one mute between the B2 middle/right strings and one mute between the B2 right string and C3 = left string, so that only the left B2 = string is sounding. Tune the left B2 string. As you are pulling the mute out = from the B2 = middle/right strings and moving it to mute = the C3 right string/C#3 left string, play C3, which should now have only the middle = string sounding. (You have a free left hand as you are moving mutes and = lever, correct? So play C3 now with it to let the VT calculate the overpull. = It takes a couple of seconds to move the mute and lever, and this gives the VT = plenty of time to make its calculations.) Now tune the B2 middle = string. Now, you are ready to tune the C3 middle string.  (Because you've = previously played C3, the VT has already calculated the necessary overpull, so = you play it and tune right away without having to wait.) After the middle C3 = string is tuned, move the mute from between the B2/C3 strings to the C#3 right = string/D3 left string, playing C#3 as you are moving the mutes and lever. = (Again, this gives the VT time to measure when you get ready to tune C#3.) Then = tune B2 right and C3 left. Now tune C#3 middle, and move the mute ahead as you = are playing D3. Does this make any sense? It's far easier to do it = than to write it. Here's a crude visual illustration. The strings should be = obvious, and the "V's" are the mutes. I hope it comes through OK. V V III    III   III B2  C3 C#3    V    V III    = III   III B2 C3 C#3          V    V III    III    = III    III B2 C3 C#3 D3 Just remember to be playing = ahead as you're moving mutes and lever so the VT can calculate the overpull and = have it ready when you get to that string. John Formsma</BLOCKQUOTE></BODY></HTML>