OK - I'll bite. Why is most everyone talking about a "multi-pass" pitch raise. Since I was taught, with RCT, to do a one-pass, A0 - top, tuning unisons as I go. Why ? Is the multi-pass better ? Or is it that pitch raising with aural tuning harder because you have to figure in overpull as you go ? Or is it that the RCT handles the above one pass equal or better ? Or is it just a persons preference ? Please keep it to non-concert or institutional tunings - meaning general public tunings. Just trying to demystify and make sense of all these different views. Duaine Joe Goss wrote: > Hi, > Each time I read others comments on pitch raising I am reminded of the > futile attempts and outright failures in my attempts to do a 10 minute > pitch raise. Each time winding up with a piano that after the pitch > raise needed two to three more passes to be considered (in tune). > So, being a rather lazy fellow, and using a SAT ll or lll and the bass > over pull the Verituner uses it is usually, on most pianos, a very > deliberate first pass followed by a much quicker second pass. > Wound strings 12.5% over pull Read A2 and divide by two, enter. > Tenor spinets, and especially plywood boards 20% all others 25% > Bb4 or C5 25% Re cal at the treble break and sometimes at F6 > Second tuning usually will be the tenor to C5 but at times its the > whole piano. Always under two hours. > The above is done with a wide rubber mute and the spring steel split > mute. This mute works like the pap mute without the metal attack. > Joe Goss > BSMusEd MMusEd RPT > imatunr at srvinet.com <mailto:imatunr at srvinet.com> > www.mothergoosetools.com <http://www.mothergoosetools.com>
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