Pitch Raise Sequence

[Ron Nossaman]

>Greetings, 
>   Assume a 20 cent  flat piano, everywhere.  A SAT will have you pulling 
>things 5 cents sharp as you go,  actually increasing a little as your efforts 
>affect the strings in front of you.  So, let's say the final octave is 22 
>cents flat.  Adding 5 cents to the C88 doesn't represent much sharpening.  
>Musically, some tuners like the C to be far sharper than that anyway, and 
>from a pitch raise standpoint, the difference is neglible to your next pass.  
>I don't know of any commercially viable aural pitch raising techniques that 
>would provide for C88 to be closer than this to its final position. 
>Regards, 
>Ed Foote RPT

All of which was my point about starting a pitch raise at the treble and
working down. I understand how it works, even though my stone age aural
processes can't put numbers to it. Well, I could, but you guys would get me
if I tried. The overpull in the treble coming from flatter than it was
before you loaded the tenor, to where you want it to end up when coming up
from the bass, is going to be considerably less than the overpull required
to anticipate the drop (working from the top down) when you load the tenor.
The total drop of the treble should be the same, but the amount of overpull
above final pitch will depend on when in the pitch raise sequence you do
it. In other words, pulling the treble from 20 cents low, to 5 cents high
late in the process is preferable to pulling it 25 cents high early in the
process to arrive at the same point.

That's why I doubt that working from the top down is a good idea, which was
the original observation.



>   (All this problem can be avoided by not raising that last note past 
>standard pitch.....but that means you don't want to raise the B7 either,  
>then what to do about the Bb7,  and pretty soon, we realize that there is no 
>where to begin and we CAN'T raise the pitch at all! (:)}}

Cut that out! I'm trying to taper off.  <G>

Ron N