Hi list I also thought I had seen something Al Sanderson had written about starting a pitch raise from A0, and continuing onward and upward chromatically. I had always started pitch raise's with setting a temperament, and tuning as per normal as quickly as possible. Obviously the only way to do the chromatic pitch raise is with an ETD. Can anyone expand on the chromatic technique? If one starts at A0, you're adding whatever extra "tension" there would be that occurs from a pitch raise, to the "middle" of the soundboard first? If I'm correct in assuming that, would that have any effect on the outcome of the tuning? Also, one is adding tension to the frame in a different sequence to the way you would starting with the temperament. This should also have an effect? I mentioned this to an RPT ( the only one in the area ), and he said he hadn't heard of doing a pitch raise like this, which made me think I had misunderstood what I had read. Any comments would be appreciated. Paul Tizzard, Piano Tuner Cape Town South Africa ----- Original Message ----- From: "Z! Reinhardt" <diskladame@provide.net> To: "Pianotech" <pianotech@ptg.org> Sent: Friday, August 31, 2001 12:22 AM Subject: Re: stability of pitch raises > One person you might want to talk to is Doc Sanderson (Dr SAT himself) at > Inventronics. He has done research on the effects of doing a pitch raise > "piecemeal" (start with a temperament, tune single strings, then pull in > unisons) versus "brute force" (crank all pins from one end of the piano to > the other). If I remember correctly, he has found that the "brute force" > method [my terminology] results in more stable tuning at pitch using a > smaller overpull than would be necessary to do a "piecemeal" pitch raise. > He may have an explanation for this phenomenon.
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