freebies (late and long)

[Ron Koval]

I'm in catch-up mode here.....  Thanks Ron, for once again asking a good 
question.

I've been back and forth on this for years, trying to figure out what works, 
and what makes sense.  I don't feel that I'm moving particularly fast, but I 
do get done in just about an hour.  Dean Reyburn has done a great job with 
RCT, its pitch - adjustment mode really helps the piano to end up at the 
machine calculated tuning.  It is designed to work in the default mode as a 
quick-pull (impact?) method on the first round.  However, since I wanted to 
take advantage of any "freebies", I was able to alter the overpull amount to 
adjust to my technique; pull up over the pitch and settle down.  It's a 
matter of adjusting both the machine and the technician to work together.

I move every note the first time through, I'm not confident of the freebies 
that haven't been touched.  I think of my tunings as "zone tunings".  With 
each pass, I narrow my focus of target, and movement, if the piano allows.  
For example the piano I just finished was last tuned in 1999, but in the 
same general humidity, so it was only off by maybe 10-15 cents.  I use a 
split mute to minimize mute moving.  First pass, using the Verituner, took 
30 minutes.  Yes, a little longer than some are proposing. Try to get each 
note within a couple of cents of the overpull target. First string to the 
machine, the other two aurally.  A#-top, then A3 to the bottom. Pull over, 
and settle... make a mental note of the unisons that don't behave.  Don't 
pay attention to any checks or octave playing at this point.  Just tune and 
move on.  I do slow down in the top, because that's where I really want to 
get the most freebies.

Ok?  Now on to the second pass. Took me 20 minutes on this piano, leaving 5 
minutes to play, write invoice, pack & chat.  A4-A5, now put your octave 
ears on, then down from A4 to lowest plain wire, or the break. This can be 
the toughest section, so use the machine as a bookmark.  Find the most 
harmonious (I didn't say beatless) spot for the octave (only small, 1 or 2 
cent movements, if possible) and see if it matches what the machine wants.  
If not, check the upper octave first, then see how many cents off for the 
bottom to sound right.  This is where you may need to do some adjusting to 
the tuning, depending on what machine and style you use.  For troublesome 
unisons, sometimes starting on a different string of the unison first will 
work.

Obviously, this only works if you have the machine set up to put the tuning 
curve in the right place to make the octaves, doubles and triples work out.  
It's best to not be second guessing the machine and shifting a lot of notes, 
because it will probably just cause more headaches, as you try to get the 
tuning to work.  Also, if the piano refuses to co-operate with fine pitch 
adjustments, well.... take a deep breath and hope for the best.  Aren't we 
right back to the "close enough" topic now?  You can only do what the piano 
and the environment will allow.

Y'know, I should probably get back to work now!

Ron Koval
Chicagoland





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