Simple: put two strips, tune 25 pins non stop, take one off, tune 25 pins non stop, take the other off, tune the other pins non-stop. Michel Lachance, RPT >O.K. > >the purpose of this "every other unison stripping" seems to elude me. Why >would one do that as opposed to just using one strip and do all the unisons >with that. >Is it because the strip doesn´t bulge as much or to get a resemblance of >the order of tuning pins in the bass? > >Please help the feeble-minded! > >Kristinn Leifsson >Reykjavík, Iceland > > > > > > >At 09:57 17.2.2000 -0600, you wrote: > >This was at the last convention. Tech from New York taught it. Sorry, >name > >escapes me. Nice guy. I missed the class, got a handout. Use the > >technique. Works great. Rather than 2 strips, you can just pull every > >other one out with tweezers. It's sped me up alot!!! Best raise in pay > >I've had in a while.... > > > >Lance Lafargue, RPT > >Mandeville, LA > >New Orleans Chapter > >lafargue@iamerica.net > > > > > > > > > >-----Original Message----- > >From: owner-pianotech@ptg.org [mailto:owner-pianotech@ptg.org]On Behalf > >Of David ilvedson > >Sent: Tuesday, February 01, 2000 1:07 AM > >To: pianotech@ptg.org > >Subject: Re: Strip Muting/unisons > > > > > >Roger, > > > >Some years ago Ron Berry did a class at a national > >convention where he gave a tip on temp strips. He suggested > >using one strip to do every other unison and another to do the > >whats left... > >... strip1...strip2...strip1...strip2...strip1...etc. When the > >middle strings he simply pulled out one strip which left... > >strip2... ...strip2... ...strip2... ...strip2... This enabled you > >to tune the right string of one unison then the left the next, > >right of the next, left of the next etc. I always thought this was > >a very cool way to strip mute. > > > >David Ilvedson, RPT > > > >To: pianotech@ptg.org > >Date sent: Mon, 31 Jan 2000 21:58:36 -0800 > >Subject: Re: Strip Muting/unisons > >From: Roger C Hayden <rchayden2@juno.com> > >Send reply to: pianotech@ptg.org > > > >> Graeme, > >> > >> I use three strips. The newest felt in the temperment area. Stuffed > >> between every unison. !!! felt !!! felt !!! felt !!! etc . (BTW if > >> you're having trouble setting temperment, try a new felt.), the second > >> newest in the high treble above the break, making neat short loops and > >> sliding them behind the dampers, (tough in some pianos). And the third > >> most worn strip in the bass, (closer strings, thinner felt). Then I set > >> temperment, and octaves chromatically into the treble, tuning all >middle > >> strings. Next to the bass, tuning chromatically whatever single string > >> is singing. (You'll catch on to the pattern in the tuning pins of > >> singing stings quickly.) > >> > >> Then I pull out all the felts, yes, all the felts!! And stuff the mid > >> section felts back in, this time between every other unison. For >example > >> !!! felt !!! !!! felt !!! !!! felt !!! etc. This is where I >use > >> whole steps, in tuning the unisons, and where it seems to go very > >> quickly. You'll notice that the available pins/strings needing tuning > >> are in a straight line. I do the top set of pins in whole steps to the > >> top. Then the bottom set. > >> > >> Then I go to the bass, and tune down, using whole steps again, and >again > >> you'll notice the pins needing tuning are often in a straight line. >Then > >> I 'turn the corner' and tune the rest of the bass strings coming back >up. > >> > >> Next, I pull out the temperment strips and tune the other available > >> strings in whole steps, also in a straight line. > >> > >> I have had only to use rubber mutes three times, at the breaks and on >the > >> top C. (And of course for checking and tweaking.) > >> > >> I tried pulling out the felts and tuning one side of each unison, and > >> lost time because it was extra motion, plus it has to be done > >> chromatically. > >> > >> I found by taking the time to stuff the felts back in again at every > >> other unison I save a lot of motion. > >> > >> I originally had learned to tune by moving the rubber mutes around, and > >> found the tedium driving me crazy. With the felts and this method I >can > >> leave my hands at their work, not reaching for mutes or felts, just >tune, > >> tune, tune. > >> > >> I once did a quite satisfactory fine tuning in 17 minutes. (A very > >> friendly Baldwin spinet, but I don't think it would have passed the > >> exam...) My fine tunings average 35 to 55 minutes, for which I charge > >> $65.00. I used this tuning sequence method for my RPT tuning exam and > >> scored very high. (two points short of CTE score, and some 100's) > >> > >> My pitch raises, including putting in the felts, average 13 to 15 > >> minutes. (For which I charge $35.00) > >> > >> (BTW, felting grands can be done just once with four felts, and going > >> into every other unison alternating your felts. Tune all middle >strings > >> and singles, pull out one set of felts, tune a set of unisons, pull out > >> the other set of felts, and finish the unisons.) > >> > >> Roger Hayden, RPT > >> > >> On Thu, 27 Jan 2000 22:18:43 +1300 "Graeme Harvey" > >> <gharvey@netsource.co.nz> writes: > >> > Roger, > >> > I've just come in on this thread, somehow missed the start. > >> > How do you strip mute the treble section? Do you slip the action > >> > forward or > >> > what? I strip up to about C5 (52) at which point I run out of space > >> > above > >> > the hammerline. I'm just curious. I was taught by two tuners in the > >> > workshop > >> > I spent my early years in, one used single mute and the other strip > >> > muted > >> > the temperament only. > >> > These days I strip mute down to last bichord. > >> > > >> > Of course there isn't any reason why using your method you could fit > >> > both > >> > strips simultaneously, (below the hammer / damper line above say A4 > >> > ) tune > >> > the centre strings, then simply pull out one strip leaving the other > >> > in > >> > place covering every other outside string. This makes sense only if > >> > you are > >> > removing the action to mute in the first place. > >> > > >> > Graeme Harvey > >> > New Plymouth NZ > >> > > >> > > >> > ----- Original Message ----- > >> > From: Roger C Hayden <rchayden2@juno.com> > >> > To: <pianotech@ptg.org> > >> > Sent: Thursday, January 27, 2000 7:37 PM > >> > Subject: Re: Strip Muting/unisons > >> > > >> > > >> > > I like strip muting and whole step tuning, too. I discovered it > >> > while > >> > > doing time/motion studies on the fastest method of tuning (for > >> > me). The > >> > > stop watch told me what was quicker. > >> > > Strip muting the whole piano, leaving the middle string singing, > >> > and then > >> > > tuning all them I found quick. > >> > > > >> > > Then strip muting again every other unison, leaving the middle > >> > string and > >> > > one outside (out of tune) string singing let me set these strings > >> > in > >> > > next, doing them by whole steps, because getting to the end of > >> > several > >> > > short trips seems psychologically so much easier than one long > >> > tedious > >> > > trip. > >> > > > >> > > Then I pull the strip out and tune the other set of outside > >> > strings, > >> > > again working in whole steps. I found this much faster, because I > >> > can > >> > > strip mute a whole piano in under two minutes, which doesn't > >> > compare with > >> > > handling a rubber mute upwards of 200 times. > >> > > > >> > > And I agree that whole steps seem to keep the ear fresher, and > >> > when in > >> > > the treble undampered strings, a note that continues to sustain a > >> > whole > >> > > step away from where you are now tuning doesn't seem to interfere > >> > as > >> > > much. > >> > > > >> > > The psychological element of whole step tuning is critical. I, > >> > too > >> > > average five tunings a day, have done seven tunings many times, > >> > and a > >> > > couple of days, ten. Chromatic scales are very intense to listen > >> > to. Ed > >> > > Pettingill, who taught me much twenty years ago, found tuning to > >> > be very > >> > > nerve racking. I do not. Ed used rubber mutes and chromatic > >> > sequencing. > >> > > (Of course he's also a violist.) > >> > > > >> > > Roger Hayden, RPT > >> > > > >> > > >> > > > > > >David Ilvedson, RPT > >Pacifica, CA > >ilvey@jps.net > > > > > > > ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com
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