<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN"> <HTML><HEAD> <META http-equiv=Content-Type content="text/html; charset=iso-8859-1"> <META content="MSHTML 6.00.2900.2912" name=GENERATOR> <STYLE></STYLE> </HEAD> <BODY> <DIV><FONT face=Arial size=2>----- Original Message ----- </FONT></DIV> <DIV><FONT face=Arial size=2>> When I was using the Verituner, 12% in the bass was about right, and I did<BR>> the bass last.</FONT></DIV> <DIV><FONT face=Arial size=2></FONT> </DIV> <DIV><FONT face=Arial size=2><FONT size=3>I'm pitch raising from A0 to C88, unisons as I go.</FONT><BR> <BR>> 25 - 40% seems quite high for the bass, but it depends on how flat things<BR>> are, and (I'd guess) it also depends on the lever technique. I'd always<BR>> quick "set" the pin, but for times' sake, not like in fine tuning. But if<BR>> you're just smooth pulling up to the overpull pitch and not really setting<BR>> the pin, I'd guess you'd need a higher overpull. The pins would maybe "set"<BR>> around the 10-12% place. ???</FONT></DIV> <DIV><FONT face=Arial size=2></FONT> </DIV> <DIV><FONT face=Arial size=2><FONT size=3>I also do some minimal pin setting while doing a pitch raise.</FONT></FONT></DIV> <DIV><FONT face=Arial size=2><FONT size=3></FONT></FONT> </DIV> <DIV><FONT face=Arial size=2><FONT size=3>Terry Farrell</FONT></DIV> <DIV><BR>> Things I do in the bass when doing an aural pitch raise are tune 4:2<BR>> octaves, or pure or slightly contracted P4s. That gets you in the ball park<BR>> fairly well for a fine tuning.<BR>> <BR>> Ron N's post makes sense of why things shift around after a pitch<BR>> correction, and explains why it's good to schedule a follow-up fine tuning<BR>> after a pitch correction.<BR>> <BR>> John Formsma</FONT></DIV></BODY></HTML>