<HTML> <HEAD> <TITLE>Re: just one rubber mute, was over-all tuning discussions, was How w= e hear</TITLE> </HEAD> <BODY> <BLOCKQUOTE>okay, I want to watch the movement of the rubber mute. How d= o you tune the whole piano using one rubber mute? From start to finish, plea= se please. </BLOCKQUOTE> We= ll....it’s pretty simple. I tune A440, then A220 to that, tuning the r= ight string of each note first, then the middle, then the left. I check, usu= ally with the F3 below, to see that I’m on pitch. Then I go ahead and set the temperament (F3 to F4), putting each note in re= lationship with its neighbors, tuning as I go.  I make small adjustments to the notes through the pra= ctice of “shimming” the unisons, or “cracking” the u= nisons: say I’ve got 4 notes of the temperament tuned, and I decide th= e 2nd note I tuned needs to move a little. I move one outside string (usuall= y) a slight, slight bit in the direction I want it to go, then match it with= the middle string, and check where it is.  If I like it, I leave it; i= f I don’t, I move it some more.  In this way, I complete the temperament, and it is ideal, rock-solid,= and rich. Then I go down to A0, using the same technique; then up to the to= p of the piano. The entire piano, each note in its entirety, is showing me a= nd telling me how to tune it the best, how to make it sing----and I do. Bill Garlick told me 22 years ago that if you could make a huge improvement= in how a piano sounds and feels in a relatively short period of time, you w= ere assured of deep respect and a comfortable income for the rest of your li= fe; how right he was. What an inspiration; thank you, Bill. Whole tone, open= -string tuning is a hugely crucial tool in my armamentarium for creating bea= uty. Now let’s talk about VOICING, the other most crucial tool..... Hope this helps.... David Andersen   </BODY> </HTML>