12 cents

Alan tune4u@earthlink.net
Tue, 1 Jul 2003 18:55:30 -0500


Begs a question: Is this phenomenon more prominent in pianos with a long
backscale, say a big grand or clonkingly huge old upright, or with
pianos with the bridge very close to the hitch pins, say a yiddo-biddy
spinet?

For that matter, what about pianos with a lot of string between tuning
pin and agraffe/vee compared to uprights with the pins nearly on top of
the pressure bar?

There may not be much data out there, because most neglected pianos are
not big grands, in my experience, but we might think of comparisons
between small consoles and big uprights. Then again, how do you even out
other variables in the quality of the piano design (bridge design &
condition, soundboard crown stability, downbearing, wire angles around
agraffes vee bars, pressure bars, framing strength, plate design, etc?

Alan R. Barnard
Salem, MO

-----Original Message-----
From: pianotech-bounces@ptg.org [mailto:pianotech-bounces@ptg.org] On
Behalf Of Don
Sent: Tuesday, July 01, 2003 3:28 PM
To: pianotech@ptg.org
Subject: 12 cents

Hi Joe,

With respect, your experience in pitch correction is
not the same as mine at all. A piano that is moved 12
cents will not be stable.

The most recent example of this was a large old german
upgright I tuned in England. 

I did a 27 cent pitch correction at A4. The tenor was
somewhat flater and the last octave in the treble was
40 cents sharp. The piano was within 1 cent after the
pitch correction, unisons were lovely and the octaves
were very nice.

The piano is equipped with humidity control.

24 hours later the pitch at A4 was 2 cents sharp and
the tenor about 7 cents sharp. The mid treble was
fairly stable but the top octave was again sharp--by
about 30 cents. The bass on this instrument was
slightly flat. There were also many unisons that had drifted.

=====
Regards,
Don Rose, B.Mus., A.M.U.S., A.MUS., R.P.T.
3004 Grant Rd, Regina, SK, S4S 5G7
Tuner for the Saskatchewan Centre of the Arts

http://us.geocities.com/drpt1948/

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