tuning (mute methods and deebees)

[Willem Blees]

Holly

In regard to the one (or two) mute tuning method. Any time you learn something new, it is going to take some time. The question you have to ask is, is it worth the extra time to learn the new method? Since the general consensus seems to be?that the unisons as you go method gives?a more stable tuning, I would suggest you take the time. But the customer doesn't have to know you are learning a new method. As long as you're charging the same amount for your tuning, all he/she cares about is the final result, whether it took you an hour or two hours.??So go for it. 

How long will it take??That depends on how quickly you learn. It took me about?three or four tunings to get the hang of it.?But what's interesting, is that now that I'm using this method, it is actually taking me longer to tune a piano than before. Mostly because?I am taking longer on the unions, because I'm hearing them?much better.


Willem (Wim) Blees, RPT
Piano Tuner/Technician
Honolulu, HI
Author of 
The Business of Piano Tuning
available from Potter Press
www.pianotuning.com


-----Original Message-----
From: holly quigley <hollyquigley at gmail.com>
To: pianotech at ptg.org
Sent: Wed, 19 Mar 2008 10:15 am
Subject: tuning (mute methods and deebees)


(Figured I'd put it under one heading instead of a third post)

Regarding you more experienced tuners and your one-mute method - about how long did it take you to transition from strip muting to unisons-as-you-go? What I mean is, how much time in practice did it take to get your time down and result in a clean enough tuning to do unisons-as-you-go in the field on a paid basis? Does my question make sense? I know in theory, if you're capable of producing a clean and stable tuning using other methods, there shouldn't be much of a transition time, but still. I've fiddled with tuning with one mute (I mean aurally here - I use one mute all the time when tuning with an ETD), and it takes me longer because I'm used to the sound of intervals and octaves in single-string format. I don't get to practice it all the time though, because I gotta work. It's like the fact that I wouldn't go out and start putting Stein-way style tunings on pianos without having practiced and refined the technique on my own. People shouldn't have to pay extra (time or money) for the technician's learning experience/practice-time.

Also, regarding deebees (the EAR protection thread). Would it make sense to think about it this way: the piano is an instrument designed to be heard clearly and appreciated at a distance. Which means even at "normal" playing levels, it still has to be loud enough to project out to an audience (not bringing in the topic of hall acoustics, etc.). Which means of course there's a lot of volume right at the piano. In a perfect world, even piano players would wear ear protection, just as much as drummers (should) wear ear protection. Not saying those two instruments are of the same hearing damage level, but they can produce damage. I've been able to hear just fine when wearing ear plugs and tuning, so why not take the extra precaution anyway? For me, though, it's just a matter of getting into the habit. This should be a good reason to!

Regarding whether or not a person is striking the notes too hard when tuning, though - I do know that a certain piano manufacturer's head tech has informed tuners time and again that particularly with new grands, it helps when tuning them to strike the notes, HARD, to ensure stability at first. Particularly in the capo bar areas. Which is where the sound gets more painful. This as a response to "the piano is defective because it won't holds its tune" reports. I know everyone tunes differently, and it'd be a shame to turn a thread on the importance of protecting our most important tool into an argument on hard or soft hitters. Sometimes depending on the piano, though, one technique is better than another to use, maybe? 

cheers,
Holly Quigley
(just an associate member)


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