Hi Joe, I have your article and studied it a good fair bit a few years back. My general conclusion was that it was so complicated that I could pitch raise 1,000 pianos with my teeth much faster and with much less pain that to decipher your approach. I'm not criticizing your method at all - how could I, I still don't have a clue what it is. And I think you are very generous to offer your thoughts and experience on the subject. But I'm really a reasonably smart person and I absolutely had no idea what to do with any of the information given in your method. I have little doubt that you, the author, understand it and get good results with it. It simply did not appear user friendly to me at all. I get good results with the very easy method I employ. And I really don't think that Paul and I were battling. Were you battling me Paul? I hope you're not upset that I won! ;-) Sincerely, Terry Farrell On Oct 31, 2012, at 11:46 AM, Joseph Garrett wrote: > Terry and Paul battled away saying: > " >> Which Sanderson do you use? With the SAT3 you only have the option of 25% > or 33(?)%. > > I use the Sanderson pitch raising method - leapfrogging two mutes, unisons > as I go, A0 to C88. I do not use an AccuTuner. I do use Verituner for > iphone. > >> In most pianos, for smaller pitch raises I hardly overpull the bass at > all. If it's a big PR (e.g. 40c-50c or more) even then 25% is too much in > the bass. > > I agree that 25% would be too much. That's why I've settled on about 16%. > >> I find that the 33% overpull in the top two octaves or so is oftentimes > not enough. In order to compensate for these, I usually compensate on the > "Msr" by going more flat (treble) or less flat (bass) before having it > calculate the overpull. I re-"Msr" every C#, F, and A (M3's) > > I agree that 33% would often be too little overpull, which is why I have > settled on about 38%. > >> I strip mute, A0 - C8, unisons (center, previous note right, current note > left, next note center, etc.) as I go... someday I'll get brave and try a > single mute. Maybe. > > I effectively do the same thing, only with two mutes. > >> I've always been tempted to investigate this, but does it really overpull > that much at the very top? In other words, if I overpull C8 by 33%, what's > to pull it flat, besides the other two C8 strings? Or are the other two > strings enough to drag it back down? > > No, of course not. I usually decrease the overpull on the last few notes. > Let's say I'm doing a 55-cent pitch raise - the 38% overpull should be > about 20 cents. I would overpull A8 and all notes below about 20 cents. I > would likely aim for 15 cent overpull on A#8, 10 cent overpull on B8 and > only 5 cent overpull on C8. I also find that I'll decrease the calculated > overpull on the last note or two in the upper tenor and bass. In the low > tenor I will increase the overpull by maybe 10% of the calculated overpull. > And in the monocord section of the bass, I'll usually double the overpull > (about 30%). I just find that these few tweaks usually get me closer to the > ultimate target in the end. > > Terry & Paul, > Get my pitch raising program, (for SATs), from PTJ article December 1999, > and compare your "percentage theorems with my numbers, do the math and see > how close you AREN"T coming to the real world of pitch raising!<G> I've > done the work. You should try it and see if it's easier and more efficient. > If it works, why question it?<G> > Just my take onall this Percentages crap! > Joe > > > Joe Garrett, R.P.T. > Captain of the Tool Police > Squares R I >
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