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[Ron Nossaman]

>Ron,
>
>So the implications are (at least) two very different procedures for the 
>pitch-raise and fine tune passes:
>
>1:  Pitch raise by pulling up to pitch and moving on.  Fine tune by 
>manipulating every string to ensure that it is on pitch and stable.
>
>2.  Pitch raise by pulling above pitch and firmly stabilizing.  Fine tune 
>by manipulating only those strings which are not on pitch.

Right. At some point, the tensions of the string segments between the pin 
and agraffe will have to be reconciled with the tension of the speaking 
segment and back torque and spring of the tuning pin. Either the tuner does 
it during the process, or time and physics takes care of it shortly after 
the tuner leaves. Back scale too, but that's the job of test blows, rather 
than hammer technique.


>What to do?  Which procedure is faster/better?
>
>Mike Spalding

I'd say that either approach is better if it is the one that works best for 
that individual.

As for faster, again, whatever fits the individual's technique(s) and gives 
them an acceptable (to them) balance between speed and quality. There just 
isn't any way that a string pulled to pitch without setting string and pin 
is going to stay there for long. Correction, there is one way. If the 
spring imposed upon the pin while the string is being raised in pitch is 
such that it serendipitously nearly exactly compensates for the back torque 
when the pin is released, it will work. I've played with this some in 
verticals and, while I found it interesting and entertaining, I'd hate to 
have to count on it for solid tuning.

Ron N