<!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 6.00.2716.2200" name=GENERATOR> <STYLE></STYLE> </HEAD> <BODY bgColor=#ffffff> <DIV><FONT face=Arial size=2>Terry, that's a good question. Most of = the time when I see something like your high performance Winter that's that flat, = I figure it would be safer to do two pitch raises. I feel better spreading = that much tension out over the whole instrument rather than loading up one = section tuning from bass to treble. I always strip mute no matter what I'm = doing, it just seems easier to pull it out than to move mutes constantly. = </FONT></DIV> <DIV><FONT face=Arial size=2>    If you were to try = pitch raising one of these things that much and hit it right on the money in one pass, = I don't think you'd have much luck because the different sections of the piano = are going to react differently depending on the thickness of the plate and = stiffness of the soundboard, and other intangibles. You could certainly get it pretty = close though. </FONT></DIV> <DIV><FONT face=Arial size=2>    I would strip it off = and do two really quick pitch raises, the first just slightly higher than in tune, = pull in the unisons, and then do an equally quick regular pitch raise, then fine = tune. I don't like replacing strings in spinets too much myself. I remember = trying to do it the way you mentioned a few times when I was starting out, carefully recalculating the single wire flatness for a 33% overpull as I went up. = I pulled in the unisons, and it was close enough to get there in a second pass, = but it was more work than it was worth, I thought. </FONT></DIV> <BLOCKQUOTE style="PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; = BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px"> <DIV style="FONT: 10pt arial">----- Original Message ----- </DIV> <DIV style="BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: = black"><B>From:</B> <A title=mfarrel2@tampabay.rr.com href="mailto:mfarrel2@tampabay.rr.com">Farrell</A> </DIV> <DIV style="FONT: 10pt arial"><B>To:</B> <A = title=pianotech@ptg.org href="mailto:pianotech@ptg.org">pianotech@ptg.org</A> </DIV> <DIV style="FONT: 10pt arial"><B>Sent:</B> Thursday, August 22, 2002 = 5:18 AM</DIV> <DIV style="FONT: 10pt arial"><B>Subject:</B> Re: Pitch Raises ... = Multiple Passes?</DIV> <DIV><BR></DIV>Hello Kevin. I was raising the pitch of a massive high performance Winter spinet yesterday a full half-step. And I was = thinking that it would go faster if I were to strip mute the piano, PR just the = middle strings, then go back a do the unisons. Do you do that in the plain = wire sections? How do you find that approach affects your overpull = percentage needed? Thanks.<BR><BR>Terry Farrell<BR>  <BR>----- Original = Message ----- <BR>From: "Kevin E. Ramsey" <<A = href="mailto:ramsey@extremezone.com">ramsey@extremezone.com</A>><BR>= To: <<A = href="mailto:pianotech@ptg.org">pianotech@ptg.org</A>><BR>Sent: Wednesday, August 21, 2002 11:30 PM<BR>Subject: Re: Pitch Raises ... = Multiple Passes?<BR><BR><BR>Joe, glad it works for you, however, I find that = the bass requires a twenty percent over-pull. Perhaps our methods differ; = during a pitch raise, I tune the single bass strings and one string of each = bi-chord first, then I pull out the strip and tune unisons by ear.  I'm = also tuning the bass first, ala Sanderson. When I do a pitch raise, I do it = with a SAT (Gets you real close, real fast), so I do the bass first. I can = understand the 10% overpull thing only if I've already brought the rest of the = piano up first. <BR>    Please clarify.<BR>  ----- Original = Message ----- <BR>  From: Joe And Penny Goss <BR>  To: <A href="mailto:pianotech@ptg.org">pianotech@ptg.org</A> <BR>  = Sent: Wednesday, August 21, 2002 7:46 PM<BR>  Subject: Re: Pitch Raises = ... Multiple Passes?<BR><BR><BR>  Kevin,<BR>  If the bass is = about 30 cents flat I want to raise the note about three cents sharp ( about = 10% ) of pitch. So with a SATlll that raises the pitch 25%  that would = result in too much over pull for me so I will set the over pull for 12 cents and = roll the program into the machine.<BR>  I take only one measurement at = A2 to arrive at my over pull. Works very well for me.<BR>  I use the = 25% in the tenor and about C4 the 30% to the top then retune.<BR>  On pianos = 25% or less flat or sharp I use the Verituner 100 and its 10% bass, 30% tenor,<BR>  and 36% treble and retune.<BR>  Joe = Goss<BR>  <A href="mailto:imatunr@srvinet.com">imatunr@srvinet.com</A><BR>  = <A = href="http://www.mothergoosetools.com">www.mothergoosetools.com</A><BR>=     ----- Original Message ----- <BR>    From: Kevin E. = Ramsey <BR>    To: <A href="mailto:pianotech@ptg.org">pianotech@ptg.org</A> = <BR>    Sent: Wednesday, August 21, 2002 7:40 PM<BR>    = Subject: Re: Pitch Raises ... Multiple Passes?<BR><BR><BR>    ><BR>    >     All wound = strings: 1/5 (Example: You test 10 notes, or so, and find<BR>    them<BR>    > about 30 cents flat. You would set = your ETD to +6 cents sharp and tune<BR>    = those<BR>    > strings to that setting.)<BR><BR><BR>        Here's = another little brain saver:  What if you're pitch raising a piano and = want to do a 20% overpull in the bass, and it's, say, 28 cent's flat. (let's see, = one fifth of twenty eight would be ......... ah........ ah........)  <BR><BR>        Take 28, and double = it for 56. Move the decimal point over to the left one place. <BR><BR>         5.6 is 1/20th = of 28. <BR><BR>        At least, that's = how I do it. <BR></BLOCKQUOTE></BODY></HTML>