And going in a bit of another direction, what I don't understand at all about the five or ten minute pitch raise - I presume these are essentially done "blind". Maybe some folks can do these and get good results, but from my limited experience trying this method it seems that maybe with practice I could get to the point where the final result would be within maybe 20 or 30 cents of the target (from 100 cents flat). But then, if, for example, the low tenor ends up 30 cents flat, and upper tenor 20 cents sharp, the bass and treble who-knows- where - a second pass over a piano with the pitch all over the place is not going to end up within two or three cents of target - with a piano like that it is darn near impossible to calculate required overpull/underpull (underpull - is that a word?). So then you'd need a third pass for sure. I believe that some people can do this successfully, however, I'm not sure exactly what successfully means (i.e., the quality of the tuning) and I sure don't know how to do it. Maybe some convention I'll watch someone do this kind of pitch raising and then have the opportunity to examine the results afterwords. That would be very interesting to me. Terry Farrell On Jul 3, 2010, at 5:04 PM, Susan Kline wrote: > >> Accurate one pass pitch raises is one of the primary leverage >> points for ETD use, isn't it? > > For heavy pitch raises I think it's a lot less strain on the piano > to do two fast passes, with no overpull on the first one, especially > for tired old uprights. Unless broken wire doesn't matter? What > happens to a five-minute pitch raise's total time when four rusty > old treble strings break? > > Susan Kline > -------------- next part -------------- An HTML attachment was scrubbed... URL: <http://ptg.org/pipermail/pianotech.php/attachments/20100704/4719323f/attachment.htm>
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