Overpulls was Re: Best Tuning Strategy using SAT III

[Farrell]

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As to the idea of a one-pass 100 cent raise .... I can't imagine a 100 =
cent raise then a fine tune and out the door, stability wise. Maybe =
you've got your pitch raise and hammer techniques more refined than I =
do, but for anything over about 30 cents, I'm inclined to raise pitch, =
rough tune, fine tune.  -?-

Well, first of all, most large pitch raises utilizing a good ETD =
correctly, will get you fairly close to target. And sure, a tuning pass =
after that will have compromises, but I figure no matter what you do =
tuning-wise in that situation, you aren't going to have a very stable =
tuning anyway. In such a situation I also give the piano owner an =
explanation regarding relative tuning instability related to the pitch =
raise and that next tuning (within 6 months) should produce a better =
tuning and a more stable tuning.

So often the folks have been listening to this not-tuned-in-30-years =
piano for a long time. I've never had anyone complain about the results, =
and I've had a number of folks do backflips over how they just can't =
believe how fabulous their 1948 Lester spinet sounds!

IMHO, a reasonable approach to a very imperfect situation.

Terry Farrell
  ----- Original Message -----=20
  From: Alan Barnard=20
  To: Pianotech=20
  Sent: Monday, September 12, 2005 11:43 AM
  Subject: Re: Overpulls was Re: Best Tuning Strategy using SAT III


  Terry asked: "If I understand you correctly, you tune the piano to =
A440 by ear and then use an ETD and do a pitch raise? Why not just use =
the ETD in the first place? Isn't that what it's for? Maybe I don't =
understand"

  I'll explain, others might be in the same boat.

  When I use the ETD, my pukingly persistent predeliction for =
perfectionism takes over and I just have to stop the lights. So for the =
example given, where accuracy isn't the issue, but speed is, I can go =
faster just setting a rough temperament, then octaves up and down using =
only fifths as checks (double octaves or arpeggiated chords in the upper =
treble). Am I unique, or just weird. (Please don't answer. <G>)

  As to the idea of a one-pass 100 cent raise .... I can't imagine a 100 =
cent raise then a fine tune and out the door, stability wise. Maybe =
you've got your pitch raise and hammer techniques more refined than I =
do, but for anything over about 30 cents, I'm inclined to raise pitch, =
rough tune, fine tune.  -?-

  Alan Barnard
  Salem, Missouri
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