Please clarify...when pitch raising with a calculated overpull are you tuning as if you were fine tuning? i.e. careful hammer technique etc.? When done the piano will be very close to in tune? David I. ----- Original message ----------------------------------------> From: Ron Koval <drwoodwind@hotmail.com> To: <pianotech@ptg.org> Received: Wed, 01 Dec 2004 16:36:02 +0000 Subject: pitch raising techniques >Ok, so I went back and read Joe's articles. (Thanks, by the way, all of you >who have taken the time to send in material that gets published in the >Journal.) >There seems to be two different (though similar) goals in pitch adjusting >methods: >1. Get the entire structure close to 440. >2. Get all notes close to a fine-tuning after a single pass. >These may seem like the same thing, but the approach is different. Joe's >published method uses an identical template for all pianos - regardless of >where the final tuning will end up. This hopes to safely prepare an >instrument for fine-tuning. >An overpull percentage method hopes to leave the piano tuned with minimal >adjusting needed on a final pass. This is based on measuring how far from >the target pitch each section of strings are, and applying an overpull that >is appropriate to the section of the piano, as well as the individual's >tuning technique. The tuning is calculated first, (It's best to use strings >at pitch) with the overpull applied based on the starting pitch of the note. >So - >The first method generally is a quick, once over, without setting pins - >realizing that when finished, the piano is ready for a "normal" tuning. >The second, usually incorporating some sort of averaging of the pitch >adjustment measurements, hopes to finish the first pass with a substantial >number of "freebies" - strings that are dead-on. This requires more time to >set the pins during the first pass. You may hear that this method can't >work, or won't be stable, but that simply has not been my experience. What >certainly helps is to keep good records as you develop this technique, to >identify how different models of pianos react, allowing you to adjust and >refine your technique over time. >Both methods use an A0 - C8 progression, tuning unisons as you go. I know >there are other approaches that have been written about here, including >strip-muting, or tuning only octaves before going to chromatics - with the >hope of spreading out the tension adjustment. You have to make choices >based on the condition of the instrument, as well as how far from pitch the >instrument starts. >Ron Koval >Chicagoland >_______________________________________________ >pianotech list info: https://www.moypiano.com/resources/#archives
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