<HTML>In a message dated 11/5/01 6:16:31 PM Central Standard Time, davidlovepianos@earthlink.net (David Love) writes: <BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">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> 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.   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! 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. 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. Bill Bremmer RPT Madison, Wisconsin</HTML>