Ron et al: To clarify my previous posts, I consider a pitch raise one that requires an overpull of pitch to get the piano back to A440 followed by a second fine tuning. Raising a piano to pitch in one pull when the piano is not off pitch far enough to warrant a second pass does not constitute a "pitch raise", at least for billing purposes. David Love ----- Original Message ----- From: "Greg Newell" <gnewell@ameritech.net> To: <pianotech@ptg.org> Sent: September 02, 2001 9:16 PM Subject: Re: stability of pitch raises (Ron's question) > Ron, > First, I don't charge extra for a pitch raise/tuning done in one pass. If I > may offer a guess as to why some might it would simply be that ETD's cost money. > Since the pitch raise is one of their primary feature's perhaps some justify that > this is a way to recoup this part of the investment. > O.K. I'll admit that I am just grasping at straws here with that last > statement but it does leave me an opening to pose a question regarding pitch > raises. Has anyone ever tried (using an ETD, of course) doing the first pass > simply to pitch and the second pass with the overpull feature? What I mean is > taking a stock tuning for XYZ piano and tuning only to stop the lights, strobe, > whatever in one, fast, single pass. Immediately after that is finished either use > that same "stock" tuning or measure and create a new one and then incorporate the > overpull feature all the ETD's now have. I find this intriguing because it seems > to be easier to use TuneLab this way and probably would be for Cybertuner as > well. I found, just today, that tuning chromatically with that "stock tuning" on > a piano that was over a whole step flat was faster NOT trying to measure the > notes for overpull during the first pass. I felt that even the overpull feature > would not leave me very close from that far away and I was more interested in > speed than accuracy anyway. I'm a firm believer in speed the first time through > because I feel that I'm not giving it a chance to fluctuate away from me if I go > fast enough. > Long story short I got pretty acceptable in tow fast passes from over 200 > cents. No broken strings. Never will be stable with only that but it can be > played. What say ye? > > Greg > > Ron Nossaman wrote: > > > OK folks, > > I got a couple of good responses to the actual question early on, but this > > has once again wandered off into a series of answers not relating to the > > question asked. The question was, and still is: > > > > ************************************************************************ > > If folks are habitually doing two pass tunings anyway, and since they're > > probably using an ETD that does pitch raises within a couple of cents of > > dead on in one pass (as we read repeatedly), why would they find it > > necessary to charge anything above the cost of a tuning for a pitch > > adjustment? > > *********************************************************************** > > > > I do, believe me, understand that it takes longer and is more work to do a > > two pass pitch raise and tuning than a one pass tuning. I also understand, > > believe me, that you can't do a substantial (no numbers, just somewhere off > > pitch) pitch correction as accurately in one pass as in two. That's why I > > didn't ask that particular question - nor am I likely to. I am, in > > practice, an active tuner/technician, and live this stuff on a daily basis > > so I'm quite familiar with the reactions of pianos to pitch adjustments. I > > don't need the sales pitch, I'm merely asking for an explanation answering > > my question. If anyone is interesting in clearing this up for me, please > > read the question again and, if what you habitually do corresponds to the > > question in that you (1) habitually do two pass tunings, (2) tune with an > > ETD, and (3) charge extra for pitch adjustments, I'd like to hear your > > reasoning justifying the extra charge. > > > > I also asked another related question regarding how those who charge for > > pitch adjustments based on how far off pitch the piano is, determine how > > far off pitch the piano is. I still haven't gotten an answer on this one, > > which baffles me. This has gotten so much traffic through the years that I > > was sure I'd get a veritable avalanche of cogent and clever methods from > > those who habitually quote cents deviation in their posts about pitch > > adjustments. How can one compute charges on something they can't define? > > > > Maybe it's just me, but I find honest answers to these sort of simple > > fundamental questions to be far more valuable, as well as far more > > difficult to get, than information on how to get tape residue off of keytops. > > > > Ron N > > -- > Greg Newell > Greg's Piano Forté > 12970 Harlon Ave. > Lakewood, Ohio 44107 > 216-226-3791 > mailto:gnewell@ameritech.net > > >
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