Tuning sequence question

[Andrew and Rebeca Anderson]

Gene,
I do use a Verituner VT100 so I can watch what is going on.  On a 
concert grand I overpull as much as 18% of the amount the strings 
were flat..  On a little spinet as little as 8%.  No overpull means I 
will have to pull up again on the second pass.  I personally prefer 
settling down a little over trying to pull up a little.

Andrew Anderson

At 07:49 PM 7/9/2007, you wrote:
>I do not like to overpull the bass on a pitch raise. It is usually 
>not necessary and overpulling wound strings can be more risky for 
>breaking than plain strings as they can be much closer to the break point.
>Gene Nelson
>----- Original Message -----
>From: <mailto:shawn_brock at comcast.net>Shawn Brock
>To: <mailto:pianotech at ptg.org>Pianotech List
>Sent: Thursday, January 01, 2004 7:01 PM
>Subject: Re: Tuning sequence question
>
>Jeff,
>that's how I do it.  When I use a strip I tune the middle of the 
>piano and pull the strip out to tune the unisons.  Its my belief 
>that stripping the hole piano, or damn near the hole piano makes for 
>an unstable tuning in the end.  When possible I prefer to use just 
>one wedge mute.  Through experiment I have found the tuning is more 
>stable with this process.  When tuning just one string and bringing 
>two others in after going through most of the piano I have found 
>that a lot of times the temperament goes a little wild.  Its not a 
>question of tuning hammer technique on my part because for some 
>reason I have been blessed with good stability when being 
>tested.  It Any how...  Just my thoughts.  When using the strip I 
>always tune the temperament and middle of the piano and the unisons 
>next.  I know some tuners who just strip the temperament and nothing 
>else.  Hope this helps.
>----- Original Message -----
>From: <mailto:thetuner at ivories52.com>Geoff Sykes
>To: <mailto:pianotech at ptg.org>'Pianotech List'
>Sent: Sunday, July 08, 2007 5:05 PM
>Subject: Tuning sequence question
>
>Greetings all --
>
>I know that when using an ETD the preferred method of tuning is from 
>the bass up to the treble, tuning unisons as you go. Tests have 
>apparently proven that this provides a more accurate and stable 
>tuning when completed.
>
>Traditionally, aural tuning means strip muting the entire piano, and 
>after setting the temperament, all the center strings are then tuned 
>moving first down into the bass and then up into the treble. After 
>the center strings are tuned then unisons are set starting in the 
>bass and moving up through the treble.
>
>In doing an aural tuning, is there any reason why one could not, or 
>perhaps should not, strip mute just the middle section of the piano, 
>in order to set the temperament, then immediately set the unisons in 
>the temperament, pulling out the strip mute as you go, followed by 
>moving down into the bass tuning the first string and setting 
>unisons as you go and subsequently up through the treble?
>
>In other words, which aural tuning method of the two described 
>above, would produce the more accurate and stable tuning when completed?
>
>-- Geoff Sykes
>-- Los Angeles

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