Cracking the unisons

[Alan Barnard]

I'd be happy to comment on this heresy if I understood it. Let me just say,
"Huh?"  

Describe Snap and Pop, please.

BTW, do you know how you can tell your breakfast cereal is stale? It goes
snab, crabble, bah.

Alan Barnard
Salem, Missouri


> [Original Message]
> From: David Ilvedson <ilvey@sbcglobal.net>
> To: <pianotech@ptg.org>
> Date: 01/06/2006 12:54:00 AM
> Subject: RE: Cracking the unisons
>
> OK, I've got add something to this idea.   There are three methods of 
hammer technique in this same vein...the first and less understood is
"snapping"  the unison.   This is accomplished with very quick hammer
movement, ala snapping...Cracking the unison is the 2nd technique as stated
below...well put.   The third technique is popping the unison, where you
hold the pitch above and "pop" it down into a heavenly unison.   Many
technicians use all three with "snap, crackle and pop the unison"
>
> You may banish me from the List...
>
> David Ilvedson, RPT
> Pacifica, California
>
>
>
> ----- Original message ----------------------------------------
> From: "Greg Graham" <grahampianos@yahoo.com>
> To: pianotech <pianotech@ptg.org>
> Received: 1/5/2006 2:13:51 PM
> Subject: Cracking the unisons
>
>
> >I'm hoping someone will take a stab at a detailed
> >definition of "Cracking The Unisons".  
>
> >I've checked the archives, and lots of people mention
> >Virgil Smith's technique, some claim to use it, only a
> >few have partially described it, and I suspect I'm
> >still not getting it.
> >  
> >As I understand it:  If a three-string unison is found
> >to be slightly flat or sharp compared to a test
> >interval or two, you adjust the first string without
> >muting the other two, then adjust the remaining
> >strings to clean up the unison.  
>
> >Reasons for doing this:  It's faster than messing with
> >mutes, it produces better unisons, it avoids the
> >"Virgil Smith Phenomenon" of a unison going flat when
> >all three strings are vibrating compared to a single
> >string of the unison by itself.  (Please, let's not
> >debate the phenomenon.  I'm just asking about
> >cracking.)
>
> >Is this all there is to the technique?  I presume the
> >hard part is being able to hear the beat clear up on
> >the 2nd string while the 3rd is still beating away,
> >akin to dealing with false beats.
>
> >Some of the unanswered questions (in my mind):  
>
> >1.  How big an adjustment to the unison are we making
> >when using the cracking technique?  One BPS? Half a
> >beat? One beat in 15 seconds?    
>
> >2.  Do we move the 1st string to create a beat rate
> >matching the out-of-tuneness of the unacceptable test
> >interval, or is there some other method at work?  If
> >the 5th is beating about 1/2 BPS too fast, do we
> >create a 1/2 BPS unison, then move the other two
> >strings to eliminate the beat?  
>
> >3.  The single vs. three string pitch change "Virgil
> >Smith Phenomenon": How big a change are we talking
> >about?  I've read 0.1 to 0.3 cents.  
>
> >How close is "close enough"?  I know I'm not yet good
> >enough to hear some of these small errors in unison
> >tuning.  I don't know if I could tune two strings to
> >0.25 cents accuracy while the third was 1.0 cent out. 
> >Heck, who am I kidding?  Sometimes I don't hear the 1
> >cent error, especially in upper octaves.  0.25 cents
> >mid keyboard is about one beat in 16 seconds, right? 
> >Is that the kind of accuracy we are talking about
> >here?
>
> >I need to see and hear this demonstrated someday, but
> >I'm hoping someone on the list who is a "crack addict"
> >can help me with a better written description.  The
> >archives need clarification, as do my unisons.
>
> >Thanks, 
>
> >Greg Graham
> >Brodheadsville, PA
> >One tuning exam (and several months) away from
> >RPT-dom.
>
>
>
>
> >		
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>
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