[pianotech] Pitch raise criteria

[John Ross]

Then why is there a differential in the price charged?
Normally, I find that a concert instrument requires more time, because there seems to be 'more' to be heard, allowing a person to be more precise.
Lesser quality instruments, just don't warrant the extra time, since there is no gain.
Just my take.
John Ross,
Windsor, Nova Scotia.
  ----- Original Message ----- 
  From: Ryan Sowers 
  To: pianotech at ptg.org 
  Sent: Tuesday, August 04, 2009 11:43 PM
  Subject: Re: [pianotech] Pitch raise criteria


  I don't like the assumption that in-home tunings are somehow inferior to concert tunings.

   OK, maybe I don't pound *quite* as hard for a "regular" tuning, but my mentors always taught me to do the best job I can, even for normal average every-day tunings. 

  One reason is this: How will you be prepared to accomplish a concert tuning if you haven't been practicing it all along? If you get the opportunity to work for an artist who really CAN hear, how will you be able to sock it in, if you haven't been practicing the skill??

  Some tuners are just more picky than others. There is an attitude that "the client can't tell the difference between a A+ tuning and a B- so I will settle for the B-." 

  The reason I often do "multi-pass" pitch raises is because often after the first pitch raise is done, I still don't find the piano close enough to put me into fine-tuning mode. I prefer the final pass to be mostly a "touch-up" tuning. Hopefully there will be some strings that are right on, and most of the others that need adjusting will be within a cent or two. 

  This is why almost EVERY piano I tune gets a double tuning. SERIOUSLY out of tune pianos get a triple or quadruple tuning. 

  The pitch raise, over-pull feature on the ETDs are terrific, but to think that you can consistently achieve the BEST results with just one pitch-raise pass seems unlikely based on my own experience. 


  On Tue, Aug 4, 2009 at 3:41 PM, Duaine & Laura Hechler <dahechler at att.net> wrote:

    OK - I'll bite.

    Why is most everyone talking about a "multi-pass" pitch raise.

    Since I was taught, with RCT, to do a one-pass, A0 - top, tuning unisons
    as I go.

    Why ? Is the multi-pass better ? Or is it that pitch raising with aural
    tuning harder because you have to figure in overpull as you go ? Or is
    it that the RCT handles the above one pass equal or better ? Or is it
    just a persons preference ?

    Please keep it to non-concert or institutional tunings - meaning general
    public tunings.

    Just trying to demystify and make sense of all these different views.

    Duaine




  -- 
  Ryan Sowers, RPT
  Puget Sound Chapter
  Olympia, WA
  www.pianova.net
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