<HTML><BODY BGCOLOR="#ffffff">It's easy, really. While I consider m= yself an aural tuner the majority of the time, the one place I use Tuneltune= lab religously is in pitch raising: like everyone says, from the bottom up, = one string at a time.  I use one mute starting in the three string unis= ons, tuning one string to the display, one unison to the target note, switch= the mute to the next set, tune last string. I tuned an old Hardman grand today, circa 1930 or so.  The odd thin= g about it was that it was almost uniformly 38-40 cents flat with decent uni= sons when I started.  In slightly over an hour, it was tuned to 440. Nothing political or anti anything intended here, but an interesting iro= ny is that the Hardman was owned by a lesbian couple.  Go figure. &nbsp= ;Mae West would have liked that one.... Dave Stahl In a message dated 12/1/04 5:57:11 PM Pacific Standard Time, ilvey@sbcgl= obal.net writes: <BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-= LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">I might be interested in ov= erpull on the second pass but never on the first pass... David I. ----- Original message ----------------------------------------> From: Farrell <mfarrel2@tampabay.rr.com> To: Pianotech <pianotech@ptg.org> Received: Wed, 1 Dec 2004 19:36:40 -0500 Subject: Re: Pitch Raising Techniques >Richard wrote: >> Actually, you can usually get a 100 cent flat piano at 440 pitc= h within >> 3-4 passes and never go above 442 to do it. I suppose you can c= all that >> overpull, but thats not what folks normally mean when they use = the term. >Agreed. I would call that about 8 cents overpull (or 8% for a half-s= tep-flat >piano) in the mid-section of the piano! And actually, with that amou= nt of >overpull, you might be about 18 cents flat in the middle of the pian= o after >the first pass, so maybe only a 5-cent overpull on a second pass wou= ld be >required to get up to 440! You shouldn't need the extra two passes (= well, >maybe one more pass in the high treble if you are only going 8 cents= sharp). >That's what overpull is - tuning a string a calculated amount sharp = to >achieve a targeted pitch. That's what I call overpull. So what do fo= lks >normally mean when they use the term? >I don't care if it's one or two cents overpull - if you are doing it= to get >the piano to end up at a certain pitch, then those one or two cents = are >overpull. >At least in my book.    :-) >Terry Farrell >----- Original Message ----- >From: "Richard Brekne" <Richard.Brekne@grieg.uib.no> >To: "Pianotech" <pianotech@ptg.org> >Sent: Wednesday, December 01, 2004 4:26 PM >Subject: Re: Pitch Raising Techniques >> Farrell wrote: >> >> > If the piano was a half-step flat, after your first pass, = it would be >> > about 25 cents flat (the high treble would likely be more = like 40 >> > cents flat). After the second pass, it would be at least 5= cents flat >> > (again, with the high treble being maybe 10 to 20 cents fl= at). Then a >> > third pass in the tenor? And leave it? >> > >> > Something isn't right here. If you never overpull, you wil= l never get >> > up to pitch! You'll get close, but only after quite a few = passes - >> > especially in the high treble. Why would you not want to p= ull 'em a >> > bit sharp? >> >> Actually, you can usually get a 100 cent flat piano at 440 pitc= h within >> 3-4 passes and never go above 442 to do it. I suppose you can c= all that >> overpull, but thats not what folks normally mean when they use = the term. >> >> That said... even sticking to 440 as a limit.... a couple passe= s more >> and it will stay there.  Theory is one thing, reality is a= nother.  Take >> the elections for example..... grin... no I guess I dont want t= o go >> there after all. >> >> Cheers >> RicB >></BLOCKQUOTE> </HTML>