This is a multi-part message in MIME format. ---------------------- multipart/alternative attachment When I raise the pitch of a piano, typically I find that I need to pull = an area of the treble, commonly around the sixth octave or so, a bit = extra so that area does not end up flat when the pitch raise is = completed. I use typical pitch raise overpulls - 20% in bass, 25% in = tenor and 33% or so in treble - but that one octave or so in the treble = needs to go a little further - maybe 35 or 38%. I find this to be true = on most pianos. My understanding is that one factor that may conspire to produce a = killer octave (low volume and/or short sustain) in a piano is the fact = that the killer octave area is also the area the long bridge is curved = most - rather than having the downbearing supported in part by a = straight (or nearly so) bridge (like in the tenor), the curved part of = the long bridge in the killer octave area is more prone to rolling - I = know, not rolling - actually soundboard deformation - but I'm trying to = point out that it can rotate in this area more easily than other areas. My question is - might these two phenomena be related? Is the killer = octave area more prone to going flat because the bridge is rotating (I = suppose in part due to soundboard not having enough support in that = area)? Thanks for any thoughts. Terry Farrell ---------------------- multipart/alternative attachment An HTML attachment was scrubbed... URL: https://www.moypiano.com/ptg/pianotech.php/attachments/a0/dd/6e/87/attachment.htm ---------------------- multipart/alternative attachment--
This PTG archive page provided courtesy of Moy Piano Service, LLC