---------------------- multipart/alternative attachment Horace (didn't he send everyone west?) was kind enough to send this only to me, thinking to spare my feelings. But, heck, WHAT feelings? <G> More to the point, let's get some comment on it; else how shall we learn ... It does seem to be stable for me and I have assumed it is because I whack the note good so it settles while I'm there, not after I leave. I always run through and clean up/double check unisons as a last step anyway, maybe that helps. Other voices, please. Alan Barnard Salem, Missouri P.S. Besides, there has been far too little controversy on the list lately. It can get kind of stale after awhile ... cows taste good! ...reverse crown is okay! ...CA doesn't work! ...false beats are caused by aliens! ...APSCO people were nicer than Schaff people! EBT tuning is best! See? Now, THIS is fun, wheeee ... ----- Original Message ----- From: Horace Greeley To: Alan Barnard Sent: 12/19/2005 7:24:43 PM Subject: Re: The Art & Science, was RE: Setting tuning pins Hi, Alan, I won't post on the list on this, but do feel the need to point out that this style of tuning is inherently unstable, leaving the various lengths of the string at varying tensions. It is very reminiscent of how I originally learned to tune in the 60's; and, while it certainly made me a good deal of money with home/end user work, I had to very quickly abandon it when I started doing concert and studio work. In these latter settings, I really don't care what people say publicly...the strings really do have to have the tension as equalized as possible, or some "artist" or other will bang things right out of tune...often in the opening chords of a recital. The old buzz-phrase was to "set the pin" as the original thread title notes...that shorthand really cannot be accomplished (on an S&S anyway), without taking the string above pitch and then working it back down. I know that this is a minority view, now days...I have tuned for over 40 years now, spending most of those years tuning more Steinways than I presently care to remember. Ultimately, all the ones that I have seen that have been tuned as you describe have been problematic until the basic tuning is straightened out. If it is working for you and for your clientele, then I doff my hat...that is quite an achievement! Very best regards. Horace At 05:03 PM 12/19/2005, you wrote: To use the slow pull on the S&S--especially if the pin is jumpy--it seems to work well to first lower pitch a few cents then gently, slowly, steadily (while whacking) raise it to slightly, I say again, slightly over pitch. Then just let it settle (while whacking) without pushing the pin back, i.e., without using the hammer to "set" the pin. If your first pull is not high enough or, especially, if you pulled too high and end up sharp, then you need to push down a few cents and start over. You get pretty good at hitting it on the mark, after a bit. Have fun. Alan Barnard Salem, MO ---------------------- multipart/alternative attachment An HTML attachment was scrubbed... URL: https://www.moypiano.com/ptg/pianotech.php/attachments/3b/92/6b/9e/attachment.htm ---------------------- multipart/alternative attachment--
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