Pitch Raising Techniques

[Piannaman@aol.com]

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It's easy, really. While I consider myself an aural tuner the majority of the 
time, the one place I use Tuneltunelab religously is in pitch raising: like 
everyone says, from the bottom up, one string at a time.  I use one mute 
starting in the three string unisons, tuning one string to the display, one unison 
to the target note, switch the mute to the next set, tune last string.

I tuned an old Hardman grand today, circa 1930 or so.  The odd thing about it 
was that it was almost uniformly 38-40 cents flat with decent unisons when I 
started.  In slightly over an hour, it was tuned to 440.

Nothing political or anti anything intended here, but an interesting irony is 
that the Hardman was owned by a lesbian couple.  Go figure.  Mae West would 
have liked that one....

Dave Stahl

In a message dated 12/1/04 5:57:11 PM Pacific Standard Time, 
ilvey@sbcglobal.net writes:


> I might be interested in overpull on the second pass but never on the first 
> pass...
> 
> David I.
> 
> 
> 
> ----- Original message ---------------------------------------->
> From: Farrell <mfarrel2@tampabay.rr.com>
> To: Pianotech <pianotech@ptg.org>
> Received: Wed, 1 Dec 2004 19:36:40 -0500
> Subject: Re: Pitch Raising Techniques
> 
> >Richard wrote:
> 
> >> Actually, you can usually get a 100 cent flat piano at 440 pitch within
> >> 3-4 passes and never go above 442 to do it. I suppose you can call that
> >> overpull, but thats not what folks normally mean when they use the term.
> 
> >Agreed. I would call that about 8 cents overpull (or 8% for a half-step-flat
> >piano) in the mid-section of the piano! And actually, with that amount of
> >overpull, you might be about 18 cents flat in the middle of the piano after
> >the first pass, so maybe only a 5-cent overpull on a second pass would be
> >required to get up to 440! You shouldn't need the extra two passes (well,
> >maybe one more pass in the high treble if you are only going 8 cents sharp).
> 
> >That's what overpull is - tuning a string a calculated amount sharp to
> >achieve a targeted pitch. That's what I call overpull. So what do folks
> >normally mean when they use the term?
> 
> >I don't care if it's one or two cents overpull - if you are doing it to get
> >the piano to end up at a certain pitch, then those one or two cents are
> >overpull.
> 
> >At least in my book.    :-)
> 
> >Terry Farrell
> 
> >----- Original Message ----- 
> >From: "Richard Brekne" <Richard.Brekne@grieg.uib.no>
> >To: "Pianotech" <pianotech@ptg.org>
> >Sent: Wednesday, December 01, 2004 4:26 PM
> >Subject: Re: Pitch Raising Techniques
> 
> 
> >> Farrell wrote:
> >>
> >> > If the piano was a half-step flat, after your first pass, it would be
> >> > about 25 cents flat (the high treble would likely be more like 40
> >> > cents flat). After the second pass, it would be at least 5 cents flat
> >> > (again, with the high treble being maybe 10 to 20 cents flat). Then a
> >> > third pass in the tenor? And leave it?
> >> >
> >> > Something isn't right here. If you never overpull, you will never get
> >> > up to pitch! You'll get close, but only after quite a few passes -
> >> > especially in the high treble. Why would you not want to pull 'em a
> >> > bit sharp?
> >>
> >> Actually, you can usually get a 100 cent flat piano at 440 pitch within
> >> 3-4 passes and never go above 442 to do it. I suppose you can call that
> >> overpull, but thats not what folks normally mean when they use the term.
> >>
> >> That said... even sticking to 440 as a limit.... a couple passes more
> >> and it will stay there.  Theory is one thing, reality is another.  Take
> >> the elections for example..... grin... no I guess I dont want to go
> >> there after all.
> >>
> >> Cheers
> >> RicB
> >>



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