Pitch Raise Sequence

[Kevin E. Ramsey RPT]

Here's my .02 worth; I do a pitch raise using 20% overpull in the bass. That
usually gets me right where I'm going to, Often I hardly have to move bass
notes at all, when I get to F7, I tune the middle strings only, knowing that
they will drop in right where I want them. Works for me.
-----Original Message-----
From: Farrell <mfarrel2@tampabay.rr.com>
To: pianotech@ptg.org <pianotech@ptg.org>
Date: Saturday, September 09, 2000 10:44 AM
Subject: Re: Pitch Raise Sequence


>Ahh Ha! I got an answer for you. "Why would you have any overpull at all at
>88?" Ya don't.
>
>Example: Piano is 50 cents flat A0 to C88. Start pitch raise (PR) @ A0. Use
>about a 17% (or so) overpull for bass. Up from the bass break, use 25%
>overpull (of course now, the next string you PR will actually be starting
>from about 70 cents flat) for all tenor strings (a teeny tiny bit less for
a
>few wound strings in tenor, if present). Start with a 33% overpull with the
>first treble tricord (the first ones will be about 70 cents flat to start).
>Continue with 33% overpull, remeasuring (more frequent remeasuring with an
>unevenly flat piano) at reasonable intervals (I find that by the last
octave
>I might be starting with an 80 + cents flat string). The last few notes, I
>will not overpull quite as much as the SAT is suggesting. I turn the PR
>overpull off when I get to A#86, B87 or C88 (it's a critical calculation
>based on moon phase, earth's magnetic field polarity fluctuations, etc.)
and
>maybe pull them a few cents sharp. The last unison on C88 gets NO overpull.
>
>I find that on 80%+ pianos that start off 50 cents flat or less, the above
>method will get me within 2 cents on 80%+ of the notes (less in hi treble)
>(I am estimating the percentages - but I don't think I am exaggerating too
>much - at least it seems that way ;-). In bass and tenor especially, I will
>often find a dozen center strings that I do not move on my tuning pass, and
>often find a good dozen or so unisons that I do not touch (not always, but
>often - of course more often on a 10-cent PR than a 50 cent PR).
>
>Of course, if my foot switch breaks and my auto-stepping goes crazy and
>sneaks to a point half an octave away and I gotta retune a whole bloody
*&%$
>half a piano AGAIN (after of course ANOTHER pitch adjust), I just give up.
>BUT don't ask, because I love my SAT III and I would never say anything bad
>about it. :-(
>
>Terry Farrell
>Piano Tuning & Service
>Tampa, Florida
>mfarrel2@tampabay.rr.com
>
>----- Original Message -----
>From: "Ron Nossaman" <RNossaman@KSCABLE.com>
>To: <pianotech@ptg.org>
>Sent: Saturday, September 09, 2000 12:38 PM
>Subject: Re: Pitch Raise Sequence
>
>
>> >Hmmmm. This is not my observation. The SAT recommended overpulls of 25%
>in
>> >tenor and 33% in treble generally work well for me. That would suggest
>more
>> >overpull in treble (larger pitch correction plus larger overpull).  :-)
>>
>> Hmmmm again. I guess I really don't know what the actual overpull is in
>the
>> treble doing it aurally. All I have to go on is overpull relative to what
>> I've already overpulled an octave down, so I don't have numbers. The
aural
>> process requires a progressive lessening of overpull (relative to an
>octave
>> down) as you go up the treble, ending with a very nearly pure octave at
>88.
>> OK, I have a question. If you SAT pitch raise from the bass to treble,
>> tuning unisons as you go, why would you have any overpull at all at 88,
>> since the rest of the piano should be all nicely compressed and at pitch
>> and that last unison shouldn't knock the adjacent notes down appreciably?
>> Doesn't compute, unless I'm not understanding how the overpull estimate
is
>> stated.
>>
>>
>> Ron N
>>
>
>