Call me weird, but I never over-pull, period, except for a slight roll clockwise on the pitch raise. David I. *********** REPLY SEPARATOR *********** On 6/2/01 at 8:25 PM Kevin E. Ramsey wrote: >By the way, call me weird, but I don't like pulling wound strings more >than five cents sharp; ever. A five cent overshoot would equate to the bass >being 25 cents flat. I always count on a twenty percent overshoot on the >bass bridge. Here's how I figure it; say the bass is 18 cents flat. I >double >that, gives me 36 cents. Move the decimal point over one place, that give >me >plus 3.6 cents for the overshoot. Gets me right in the ball park every >time. >On the second pass, I'm doing fine tuning all the way, doesn't matter if >it's a spinet or a grand. I've done so many pitch raises on grands that >were >12 cents flat, where I barely had to nudge the pins a little on the second >pass to know it works. Of course, I have my own style of tuning, where I >like to have the 6/3 octaves a little narrow towards the top, and a little >wide at the bottom, so I fudge to make things sound good, with the double >octave not beating very much at all. > My priorities are: Unisons-1, Octaves-2, Fifths-3, Fourths-4, Thirds-5, >Tenths-6, Seventeenths-7,................ You get the picture. I am NOT >ever >going to de-tune a good octave in order to satisfy a 17th. > > >Kevin E. Ramsey >ramsey@extremezone.com >----- Original Message ----- >From: "Kevin E. Ramsey" <ramsey@extremezone.com> >To: <pianotech@ptg.org> >Sent: Saturday, June 02, 2001 7:50 PM >Subject: Re: SAT/Inharmonicity Observation > > >> Terry, you remember the discussion we had a week or so ago about the >low >> tension in the lower tenor on the Yamaha GH1? One of the members came >back >> with figures that supported my theory of the tenor section tension being >> dropped too low, and the inharmonicity factor was about double what it >was >> in the top note of the bass section. >> Therefore, you could safely assume that the inharmonicity would obviously >> change with that great a change in the overall tension of the string. >> On an other note; when a piano is that flat (-140c), the first time >> through I will just pull it up to pitch, or maybe a little sharp, and see >> what happens when I tune the unisons. I count on two pitch raises. >Otherwise >> you're pulling individual strings fourty cents sharp for a differential >of >> 180 cents between the tuned and un-tuned notes. Scares me! >> I'm sure that you do things pretty much the same way, let me know. I >just >> said that more for the newbies who may be lurking. >> >> >> >> Kevin E. Ramsey >> ramsey@extremezone.com >> ----- Original Message ----- >> From: "Farrell" <mfarrel2@tampabay.rr.com> >> To: <pianotech@ptg.org> >> Sent: Saturday, June 02, 2001 7:32 PM >> Subject: SAT/Inharmonicity Observation >> >> >> > I serviced a 1940 Chickering Studio today. Hadn't been tuned in >decades - >> > very good condition. It was 140 cents flat. I did an FAC calculation >with >> > the strings 140 cents flat. FAC values were 10.5, 11.2, and 8.5. Raised >> the >> > pitch up to A440. Figured maybe I should double check - maybe >> inharmonicity >> > would change. FAC values @ A440 were 8.7, 9.7, and 7.0. All decreased >by >> > about 1.5. I would imagine this simply follows some sort of theory, >which >> > obviously I have no knowledge of. Just thought some might be >interested. >> > :-) >> > >> > Terry Farrell >> > >> > >>
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