YES YES YES was NO NO NO

[Marcel Carey]

Hi Ric,

This is one thing that bothered me a lot when I was in Japan. In the
exam measurments, they were measuring A-3 for pitch. For me (as a CTE)
this was and still is wrong. I remember that they wanted A-3 to be about
1¢ flat to compensate for inharmonicity. Well, A-3's fundamental is
somewhere around 220 Hz, not 440. I had an apprentice that came straight
from Western University and who was thaught to use F-3..A-3 for a pitch
test. It can come close, but no cigar for me. A-4 should be 440 period.

On another level, thinking about Marshall, he's got a lot to learn
before this is even important. Unisons, octaves, temperment will be more
important for private paying customers. I think this is where he should
put most of his efforts at this time. I was fortunate enough to have my
father as a tutor that came to pick me up after my first tunings. He
then would retune the piano for me until I was able to do a decent job.
Marshall doesn't seem to have such a mentor. But I wish he'd have one,
cause it releived me of a lot of pressure ( I could afford to make it
"not so perfect" knowing my dad would fix it). But I still remember my
first solo concert tuning...

Marcel Carey, RPT

> -----Message d'origine-----
> De : pianotech-bounces@ptg.org 
> [mailto:pianotech-bounces@ptg.org] De la part de Ric Brekne
> Envoyé : 8 janvier 2006 17:07
> À : pianotech
> Objet : YES YES YES was NO NO NO
>
> As for who teaches what... let me just quote directly from the book 
> "Basic Piano Technology" which is the book given out to all 
> who attend 
> the Yamaha Acadamy. Yamahas piano bible as it were.
> 
> "Setting the Fundamental pitch:
> 1. Comare the note A37 to the tone of the tuning fork, and manipulate 
> the tuning hammer to produce a no beat condition as in unison tuning. 
> The tone A 37 is correctly tuned if the rate of the beats produced by 
> the two tuning forks of 440 and 442, and that of the beats 
> produced by 
> the note A37 and the tuning fork of 442 are the same.
> 
> 2: Set the pitch of A37 using the tuning fork in the same way as 
> described in method 1. Check to see whether the rate of beats 
> produced 
> by the major 3rd (A37 and F33) and that of the beats produced by the 
> tuning fork and the note F33 are the same. In another way the 
> note A37 
> can be tuned later by setting the beat rate of A37 and F33 to that of 
> the tuning fork and F33
> 
> 3: Adjust the beats produced by the tuning fork and the note D30 to a 
> comfortable speed (3-4 beats/second). Tune A37 so that the 
> beat speed of 
> the tuning fork and D30 is the same as the fifth A37-D30, and 
> a beatless 
> condition is achieved between the tuning fork and A37. An 
> octave of A49 
> can be used instead of D30."
> 
> ----------------------------
> 
> They dont even mention the F2/A4 bit.