Hi Terry, If I know the instrument I am working on will exceed the overpull capacity of the VTD I use then before I start I will pull up the last pin tuned from a#4 up to the top of the instrument. For me this is the bottom row of pins. The idea was given to me by Al Jescke of Calgary--I don't know if it was his original idea or not. If the piano is 150 cents flat then I will do the top row of pins as well, perhaps from c6 up. My observations of this technique have shown that this is less stable than more "traditional" methods of pitch correction I.E. doing a "triple pass". I don't personally believe that a piano this flat can be made stable in one visit. I'd far rather return for a 2nd service call. This has been discussed before so I know there are referrences in the archives. As regards different pianos reacting to overpull numbers try to find out if the instrument has a laminated board or a traditional one--the laminated takes less overpull. The style of plate matters as well. I find plates with individual hitch pins require far less overpull. My hunch is that the plate flex is a whole bunch more important than the soundboard. Full perimeter plates also require less overpull. Pianos with massive rims require less overpull. (sending this message via data cable and my cell phone--which is why I did not reply at greater length the first time) ===== 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/ __________________________________ Do you Yahoo!? Friends. Fun. Try the all-new Yahoo! Messenger. http://messenger.yahoo.com/
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