Pitch raising technique

[Robin Blankenship]

I'm curious. Do any of you ever use a "deaf" pitch raising approach? That
is, having determined the amount of total pin/string movement in a midrange
sampling, proceeding to turn the other pins a like amount. This relies on
"muscle memory" as one RPT explained to me years ago. Of course, this is
only useful when doing a large correction; i.e., 30 cents or more. It is
very, very crude, but very, very quick. I've been experimenting with it
lately and am not too good at it yet.

Your comments are welcomed.

Robin Blankenship
----- Original Message -----
From: Larry J. Messerly <prescottpiano@juno.com>
To: <pianotech@ptg.org>
Sent: Wednesday, February 16, 2000 12:17 AM
Subject: Pitch raising technique


>The talk recently on this list about whole step tuning and muting every
>other note after the center string is tuned got me to thinking.
>
>A couple of pitch raises this week (using SAT II), I tuned from A0 with
>no over-shoot in the bass, at the plain strings, using 2 mutes(or a split
>mute), tuned center string (F3 for example) with pitch raise system of
>SAT II and then moved mute, tuned left string of F3 and center of F#3,
>move mute, tune left of F#3 and center of G3  ... and so on for an
>octave, then went backwards and tuned the right strings of all notes,
>then continued up from where I had stopped to go back and tune the right
>strings. Takes longer to write than to do. I did the second tuning from
>C8 down, checking as I went. when I got to the bass it was very close,
>the bottom octave almost right on, and A4 came out at 440.
>
>If it didn't actually save any time, at least it brought a refreshing
>change to the pattern.
>
>Larry Messerly,RPT
>Prescott/Phoenix