<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN"> <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:st1="urn:schemas-microsoft-com:office:smarttags" = xmlns="http://www.w3.org/TR/REC-html40"> <head> <META HTTP-EQUIV="Content-Type" CONTENT="text/html; = charset=us-ascii"> <meta name=ProgId content=Word.Document> <meta name=Generator content="Microsoft Word 10"> <meta name=Originator content="Microsoft Word 10"> <link rel=File-List href="cid:filelist.xml@01C4BC13.A00B4470"> <title>Re: How we hear to Jeneetah</title> <o:SmartTagType = namespaceuri="urn:schemas-microsoft-com:office:smarttags" name="PersonName"/>  <style>  </style>  </head> <body lang=EN-US link=blue vlink=purple = style='tab-interval:.5in'> <div class=Section1> Trying to listening out 15 seconds = I think is excessive and unnecessary.  First of all, most of the piano won’t give you 15 seconds of usable sustain.  Second, it makes = the job take too long.  Third, if = there is any benefit of listening beyond, say, 5 seconds is so negligible as to = probably not even be measurable.  =  A dead on unison will have a = specific characteristic that will be evident within the first few (3-5) seconds. =  I can only describe the sound as = one of the tone closing up or folding up as the attack envelope = dissipates.  In the past it has sometimes = been referred to as “tune the unisons dead”.  You can hear this right = away.  The other issue is when you = should actually take the time to check your unisons by hanging onto the note for an = extended period of time.  I would = say that only in the final phase of checking should that be done.  I go through and tune unisons = as I go, listening beyond the attack for maybe 1-3 seconds depending on what = section of the piano I am in.  In the = final phase, which is really just a final check of each = unison, I go through each note one at a time and allow the note to sustain for = maybe 5 seconds in the lower part of the piano and somewhat less in the upper = part of the piano. Overall, I do this final test with a fairly soft touch (p) = and listen for this folding up following the attack.  If I hear the unison opening up = I mute first one side then the other and compare to determine which side is = out.  If both sides are equally out = then I mute the center string and if the outer strings are clean it tells me = that the center string has probably moved. If I think the center string may have = moved, I go back and double check the interval tuning on that note.   At the very upper end of the = piano I am hitting the note probably every 1 second or so with a soft touch and = listening to the character of the unison rather than trying to detect a = “phase”.  <o:p></o:p> <o:p> </o:p> <div> David Love <st1:PersonName>davidlovepianos@comcast.net</f= ont></st1:PersonName> = <o:p></o:p> </div> -----Original = Message----- From: = pianotech-bounces@ptg.org [mailto:pianotech-bounces@ptg.org] On Behalf Of ilex cameron ross Sent: Tuesday, October = 26, 2004 7:07 PM To: = <st1:PersonName>Pianotech</st= 1:PersonName> Subject: RE: How we hear = to Jeneetah <o:p> </o:p> <div> So, with this 15 = second rule, how long does it usually take you to tune a = piano?<o:p></o:p> </div> <div>  <o:p></o:p> </div> <div> just = curious,<o:p></o:p> </div> <div> ilex</font= ><o:p></o:p> </div> <blockquote style='border:none;border-left:solid blue = 1.5pt;padding:0in 0in 0in 4.0pt; margin-left:3.75pt;margin-top:5.0pt;margin-bottom:5.0pt'> -----Original Message----- From: = pianotech-bounces@ptg.org [mailto:pianotech-bounces@ptg.org]On = Behalf Of David Andersen Sent: Tuesday, October = 26, 2004 9:45 PM To: Pianotech Subject: Re: How we hear = to Jeneetah<o:p></o:p> <blockquote style='margin-top:5.0pt;margin-bottom:5.0pt'> Hi, Maybe you should keep on making soft blows, but try to hit the = key quickly, without listening to the note during 15 sec like you said. That way you'll be able to hear the "attack" of the note, the = first stage of the sound that is produced. Having a clear and pure sounding attack is very important for me, and = I've never succeeded in having a clear attack when tuning with listening to = the note more than 2 or 3 seconds.<o:p></o:p> </blockquote> Sorry, Quentin, but I absolutely disagree; listening to the unison all = the way out to silence is the only way that works, for me, to get the note = completely still, completely blooming and rich. Period. That said, it really doesn’t matter, ultimately, HOW you get a = piano to sound and feel beautiful; it just matters that you CAN. Best of the day, David Andersen <o:p></o:p> </blockquote> </div> </body> </html>