This is a multi-part message in MIME format. ---------------------- multipart/alternative attachment Hmmmm. Just never noticed that the VT takes all that long to calculate = an overpull. Seems to me just a second or two...... ???? Terry Farrell ----- Original Message -----=20 Look forward to hearing your comparisons with pRCT. Right now, I carry the VT in a camera bag. It won't fit in my tool = case with the rest of my stuff, so that's what I'm doing for now. It's a = padded soft-sided case that has room for the manual and charger. A = camcorder case would also work well. One technique I use helps with pitch raising and a one-pass tuning = with overpull. It might also work well with RCT and other ETDs that = listen to each note to calculate overpull for that individual note. The = VT takes a while to measure the overpull, and this method helps speed = things up a bit because the machine calculates the needed overpull = before you are actually ready to tune that note. This method works with = the "leapfrog" way of using two rubber mutes, and it also works with = strip mutes. I use both, depending on whether I'm tuning a vertical or = the spacing of the strings on a grand won't allow good muting with a = strip.=20 This method assumes you are tuning unisons as you go up and down the = scale. Basically, you will be playing the next note with your left hand = as you are moving the mutes and lever with your right hand. This allows = the VT to calculate the overpull while you are still working on tuning = two other strings. =20 It's easier to do than to describe in writing, so I hope you can make = sense of it. Here goes.... I'm assuming you are using two rubber mutes, have measured A4 and A3, = and are starting with the first tenor string...we'll assume the tenor = begins with B2 and is a trichord. You have one mute between the B2 = middle/right strings and one mute between the B2 right string and C3 = left string, so that only the left B2 string is sounding. Tune the left = B2 string. As you are pulling the mute out from the B2 middle/right = strings and moving it to mute the C3 right string/C#3 left string, play = C3, which should now have only the middle string sounding. (You have a = free left hand as you are moving mutes and lever, correct? So play C3 = now with it to let the VT calculate the overpull. It takes a couple of = seconds to move the mute and lever, and this gives the VT plenty of time = to make its calculations.) Now tune the B2 middle string. Now, you are ready to tune the C3 middle string. (Because you've = previously played C3, the VT has already calculated the necessary = overpull, so you play it and tune right away without having to wait.) = After the middle C3 string is tuned, move the mute from between the = B2/C3 strings to the C#3 right string/D3 left string, playing C#3 as you = are moving the mutes and lever. (Again, this gives the VT time to = measure when you get ready to tune C#3.) Then tune B2 right and C3 left. = Now tune C#3 middle, and move the mute ahead as you are playing D3. Does this make any sense? It's far easier to do it than to write it. = Here's a crude visual illustration. The strings should be obvious, and = the "V's" are the mutes. I hope it comes through OK. V V III III III B2 C3 C#3 V V III III III=20 B2 C3 C#3 V V III III III III B2 C3 C#3 D3 Just remember to be playing ahead as you're moving mutes and lever so = the VT can calculate the overpull and have it ready when you get to that = string. John Formsma ---------------------- multipart/alternative attachment An HTML attachment was scrubbed... URL: https://www.moypiano.com/ptg/pianotech.php/attachments/5d/fd/0d/46/attachment.htm ---------------------- multipart/alternative attachment--
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