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<DIV>Gee thanks, Terry,...another post of yours, brimming with the
wisdom of 3 years of experience...I'm so glad you explained that to
me...</DIV>
<DIV> </DIV>
<DIV>David I.</DIV>
<DIV> </DIV>
<DIV><BR><FONT face=Arial size=2>*********** REPLY SEPARATOR
***********<BR><BR>On 11/7/01 at 6:09 PM Farrell wrote:</FONT></DIV>
<BLOCKQUOTE
style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #000000 2px solid">
<DIV>Gosh David, if "I may be favoring the pitch to the sharp side as I'm
going a long", then you are pulling the string sharp. Pulling the string sharp
is called overpull. If you end up at your targeted pitch, your "slight roll to
the right" simply must be an appropriate overpull to compensate for the
amount the piano will go flat after the pitch raise pass. I don't think it can
really vary from that.</DIV>
<DIV> </DIV>
<DIV>Terry Farrell <SPAN id=__#Ath#SignaturePos__></SPAN> </DIV>
<BLOCKQUOTE dir=ltr
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<DIV style="FONT: 10pt arial">----- Original Message ----- </DIV>
<DIV
style="BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: black"><B>From:</B>
<A title=ilvey@sbcglobal.net href="mailto:ilvey@sbcglobal.net">David
Ilvedson</A> </DIV>
<DIV style="FONT: 10pt arial"><B>To:</B> <A title=pianotech@ptg.org
href="mailto:pianotech@ptg.org">pianotech</A> </DIV>
<DIV style="FONT: 10pt arial"><B>Sent:</B> Wednesday, November 07, 2001 5:52
PM</DIV>
<DIV style="FONT: 10pt arial"><B>Subject:</B> Re: Oops?</DIV>
<DIV><BR></DIV>
<BLOCKQUOTE
style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #000000 2px solid">
<DIV>Terry,</DIV>
<DIV> </DIV>
<DIV>To continue: I don't overpull because I don't like broken
strings...of course this isn't any quarantee a string won't break but it
won't be because of too much tension...I also like the feel of bringing it
up rather than down. I also don't overpull on new pianos where
strings are not likely to break...</DIV>
<DIV> </DIV>
<DIV>David I.</DIV>
<DIV> </DIV>
<DIV> </DIV>
<DIV>Hmmmmm. Why do you not use any overpull to get the piano to
pitch?</DIV>
<DIV> </DIV>
<DIV>Terry Farrell</DIV>
<DIV> </DIV>
<DIV>----- Original Message ----- </DIV>
<BLOCKQUOTE dir=ltr
style="PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
<DIV
style="BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: black"><B>From:</B>
<A title=ilvey@sbcglobal.net href="mailto:ilvey@sbcglobal.net">David
Ilvedson</A> </DIV>
<DIV style="FONT: 10pt arial"><B>To:</B> <A title=pianotech@ptg.org
href="mailto:pianotech@ptg.org">pianotech</A> </DIV>
<DIV style="FONT: 10pt arial"><B>Sent:</B> Tuesday, November 06, 2001
1:23 AM</DIV>
<DIV style="FONT: 10pt arial"><B>Subject:</B> Re: Oops?</DIV>
<DIV><BR></DIV>
<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
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