Pitch Raise, Above the break-

[Rob Kiddell]

>When I do pitch raises on an upright above the break, I find that I have to
>make extra passes above the upper break for 12 - 15 semi tones.
>snip<.
  ARE THERE any hints which would save extra passes
>through this portion of the piano and save effort and time?

 Stephen,

        This problem is one that I encountered when I first started tuning.
Another tech showed me his technique, which consists of setting temprament
and tuning up to the treble break. On the last four or five notes
approaching the break, pull the strip mute and tune the right string a
couple cents sharp (I'm an aural tuner, so you'll have to play with the SAT
to find what works best for this process). Continue past the treble break,
tuning only the right string sharp ( a Papps mute comes in very handy at
this point). Once you've reached the point where the octave includes the
first notes where you pulled the strip mute, work back down, tuning the left
string to the temprament. When you've reached the strip mute, head back up,
pulling the center string to the left and checking the right string. If you
have judged your overpull correctly (or are just darned lucky...) the right
string should settle in almost perfectly, although some adjustment is
inevitable.
        One pass of this procedure takes roughly five minutes. Complete the
tuning. Check the section. Repeat if  needed, usually twice through will do
it. That section is just inherently unstable, due to (the theory that the
other tech came up with) the effect of string tension across the bridge
where the bridge crosses under the plate strut. I couldn't begin to describe
the physical effects involved and there was considerable discussion on the
Otto Higel thread.
         I have noticed that this section is much more unstable on pianos
where the plate strut passes through a notch in the treble bridge.

Hope this helps!

Rob Kiddell
C.A.P.T.
P.T.G. Associate
Edmonton, AB, Canada