---------------------- multipart/alternative attachment Terry, Who was this addressed to? Warren Farrell wrote: > It is hard to believe you end up with a piano at targeted pitch. Your > description appears to defy laws of physics. Consider the top two of > four sections on the grand. If the whole piano was 100 cents flat, > starting at A0, by the time you get to the upper treble those notes > will be 120 or more cents flat. Raise them to targeted pitch, and they > will fall a good 33%, or 40 cents by the time you finish your first > pass. Treble now 40 cents flat. Start second pass targeting standard > pitch, no overpull. Treble will be at least another 10 cents flat by > the time you get there, so it will be 50 cents flat. Raise treble to > standard pitch, and they will fall a good 33%, or 17 cents or so. The > treble is now 17 cents flat after the second pitch-raise pass. Now you > start your tuning pass with the treble 17 cents flat? Tenor will > likely be in the 10-cent flat area. If, on the tuning and final pass > you do not add any overpull, you will still end up at least 3 cents > flat in tenor and somewhere between 5 and 10 cents flat in treble. I > have yet to see a piano that varies significantly from the above > description. Am I missing something? "......am I concerned about the > quality or stability of the tuning?" Hmmmmm. Why do you not use any > overpull to get the piano to pitch? Terry Farrell ----- Original > Message ----- > > From: David Ilvedson > To: pianotech > Sent: Tuesday, November 06, 2001 1:23 AM > Subject: Re: Oops? > I am in the minority, but I don't raise above pitch at > all...If -100 cents, I take a my FAC readings with those > notes at correct pitch then bring each string up to a > correct pitch as per SAT from A0 to C8...if the tenor isn't > as flat as the rest of the piano it doesn't get raised any > higher than any other part of the piano. So when I go > through it a second time it is about 10 to 15 cents flat (I > don't really care where...the piano decides that but it > isn't anywhere near 30 cents flat!) and I go through it > again to pitch. The bass is now reasonably stable and a > quick 3rd time through the tenor/treble and I'm done with > the initial tuning...see ya in 3 to 6 months...am I > concerned about the quality or stability of the tuning? I > don't think so...I didn't let it go for 15 years...it's not > my problem...I don't use a temp strip, just mutes and tuning > unisons as I go... David I. *********** REPLY SEPARATOR > *********** > > On 11/5/01 at 7:35 PM Billbrpt@AOL.COM wrote: > > In a message dated 11/5/01 6:16:31 PM Central > Standard Time, davidlovepianos@earthlink.net > (David Love) writes: > > > > Also, so that those who are not familiar with > > your style of tuning are not mislead, the > > standard pitch raise function should get the > > treble sharp enough if you measure/reset > > frequently on the way up and if you are using > > standard stretching. I recall that you > > mentioned that in your tempered octaves tuning > > you are +75 cents by the time you get to C8. > > Those tuning with normal stretch are more likely > > to reach only +40. For your system that would > > require additional stretch going up. For > > others, they would end up considerably sharp of > > the target and have to do a lowering before a > > fine tuning. > > Yes, but bear in mind that most of the time I use > a more conventional amount of stretch. The triple > octave/double octave and fifth comparison is only > for when I wan the absolute maximum and > justifiable amount. > > Once I get into the last part of the 7th octave, > all bets are off. But let's take a piano that is > 1/2 step flat in the midrange. That's 100%. Very > often, such a piano is not evenly low in pitch. > The high treble may easily be 150% flat. Now add > 30 cents for the high treble for the usual amount > of stretch. We're up to 180% now, which > theoretically would take +60 cents overpull. > Yipes! > > Maybe on a new or newly strung piano but even > then, I'd prefer to work my way up. The danger of > breaking a string or splitting the bridge on the > poor old Betsy Ross is simply too great. Add to > that the kind of test blows needed to settle such > a change and you'd be bustin' those elbows or > breaking the keys themselves at the balance rail. > > It all adds up to a claim that I would really like > to see substantiated: a 100% pitch raise in 2 > passes that comes out "dead on". I'm not from > Missouri but *show me* anyway. > > Bill Bremmer RPT > Madison, Wisconsin > -- Warren Fisher RPT fish@Communique.net 1422 Briarwood Dr. Slidell, LA 70458-3102 ---------------------- multipart/alternative attachment An HTML attachment was scrubbed... URL: https://www.moypiano.com/ptg/pianotech.php/attachments/c3/64/16/cf/attachment.htm ---------------------- multipart/alternative attachment--
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