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<DIV>I am in the minority, but I don't raise above pitch at all...If -100 cents,
I take a my FAC readings with those notes at correct pitch then bring each
string up to a correct pitch as per SAT from A0 to C8...if the tenor isn't as
flat as the rest of the piano it doesn't get raised any higher than any other
part of the piano. So when I go through it a second time it is about 10 to
15 cents flat (I don't really care where...the piano decides that but it
isn't anywhere near 30 cents flat!) and I go through it again to pitch.
The bass is now reasonably stable and a quick 3rd time through the
tenor/treble and I'm done with the initial tuning...see ya in 3 to 6 months...am
I concerned about the quality or stability of the tuning? I don't think
so...I didn't let it go for 15 years...it's not my problem...I don't use a temp
strip, just mutes and tuning unisons as I go...</DIV>
<DIV> </DIV>
<DIV>David I.</DIV>
<DIV> </DIV>
<DIV><FONT face=Arial size=2>*********** REPLY SEPARATOR ***********<BR><BR>On
11/5/01 at 7:35 PM Billbrpt@AOL.COM wrote:</FONT></DIV>
<BLOCKQUOTE
style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #000000 2px solid"><FONT
face=arial,helvetica><FONT size=2>In a message dated 11/5/01 6:16:31 PM
Central Standard Time, davidlovepianos@earthlink.net (David Love) writes:
<BR><BR>
<BLOCKQUOTE
style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #0000ff 2px solid; MARGIN-RIGHT: 0px"
TYPE="CITE">Also, so that those who are not familiar with your style of
tuning are not mislead, the standard pitch raise function should get the
treble sharp enough if you measure/reset frequently on the way up and if you
are using standard stretching. I recall that you mentioned that in
your tempered octaves tuning you are +75 cents by the time you get to C8.
Those tuning with normal stretch are more likely to reach only +40.
For your system that would require additional stretch going up.
For others, they would end up considerably sharp of the target and
have to do a lowering before a fine tuning.</BLOCKQUOTE><BR></FONT><FONT
lang=0 face=Arial color=#000000 size=3 FAMILY="SANSSERIF"><BR>Yes, but bear in
mind that most of the time I use a more conventional amount of stretch.
The triple octave/double octave and fifth comparison is only for when I
wan the absolute maximum and justifiable amount. <BR><BR>Once I get
into the last part of the 7th octave, all bets are off. But let's take a
piano that is 1/2 step flat in the midrange. That's 100%. Very
often, such a piano is not evenly low in pitch. The high treble may
easily be 150% flat. Now add 30 cents for the high treble for the usual
amount of stretch. We're up to 180% now, which theoretically would take
+60 cents overpull. Yipes! <BR><BR>Maybe on a new or newly strung piano
but even then, I'd prefer to work my way up. The danger of breaking a
string or splitting the bridge on the poor old Betsy Ross is simply too great.
Add to that the kind of test blows needed to settle such a change and
you'd be bustin' those elbows or breaking the keys themselves at the balance
rail. <BR><BR>It all adds up to a claim that I would really like to see
substantiated: a 100% pitch raise in 2 passes that comes out "dead on".
I'm not from Missouri but *show me* anyway. <BR><BR></FONT><FONT lang=0
face=Arial color=#000000 size=2 FAMILY="SANSSERIF">Bill Bremmer RPT
<BR>Madison, Wisconsin</FONT><FONT size=2
Arial></BLOCKQUOTE></FONT></FONT></BODY></HTML>