<!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 6.00.2800.1400" name=GENERATOR> <STYLE></STYLE> </HEAD> <BODY bgColor=#ffffff> <DIV><FONT face=Arial size=2>When I raise the pitch of a piano, = typically I find that I need to pull an area of the treble, commonly around the sixth = octave or so, a bit extra so that area does not end up flat when the pitch raise = is completed. I use typical pitch raise overpulls - 20% in bass, 25% in = tenor and 33% or so in treble - but that one octave or so in the treble needs to = go a little further - maybe 35 or 38%. I find this to be true on most pianos.</FONT></DIV> <DIV><FONT face=Arial size=2></FONT> </DIV> <DIV><FONT face=Arial size=2>My understanding is that one factor = that may conspire to produce a killer octave (low volume and/or short sustain) in = a piano is the fact that the killer octave area is also = the area the long bridge is curved most - rather than having the downbearing supported in = part by a straight (or nearly so) bridge (like in the tenor), the curved part of = the long bridge in the killer octave area is more prone to rolling - I know, = not rolling - actually soundboard deformation - but I'm trying to point out = that it can rotate in this area more easily than other areas.</FONT></DIV> <DIV><FONT face=Arial size=2></FONT> </DIV> <DIV><FONT face=Arial size=2>My question is - might these two = phenomena be related? Is the killer octave area more prone to going flat because the = bridge is rotating (I suppose in part due to soundboard not having enough = support in that area)?</FONT></DIV> <DIV><FONT face=Arial size=2></FONT> </DIV> <DIV><FONT face=Arial size=2>Thanks for any thoughts.</FONT></DIV> <DIV><FONT face=Arial size=2></FONT> </DIV> <DIV><FONT face=Arial size=2>Terry = Farrell</FONT></DIV></BODY></HTML>