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<DIV>It is hard to believe you end up with a piano at targeted =
pitch. Your
description appears to defy laws of physics. Consider the top two =
of four
sections on the grand. If the whole piano was 100 cents flat, starting =
at A0, by
the time you get to the upper treble those notes will be 120 or more =
cents flat.
Raise them to targeted pitch, and they will fall a good 33%, or 40 cents =
by the
time you finish your first pass. Treble now 40 cents flat. Start second =
pass
targeting standard pitch, no overpull. Treble will be at least another =
10 cents
flat by the time you get there, so it will be 50 cents flat. Raise =
treble to
standard pitch, and they will fall a good 33%, or 17 cents or so. The =
treble is
now 17 cents flat after the second pitch-raise pass.</DIV>
<DIV> </DIV>
<DIV>Now you start your tuning pass with the treble 17 cents flat? Tenor =
will
likely be in the 10-cent flat area. If, on the tuning and final pass you =
do not
add any overpull, you will still end up at least 3 cents flat in tenor =
and
somewhere between 5 and 10 cents flat in treble. </DIV>
<DIV> </DIV>
<DIV>I have yet to see a piano that varies significantly from the above
description. Am I missing something?</DIV>
<DIV> </DIV>
<DIV>"......am I concerned about the quality or stability of the =
tuning?"</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 =
Arial></BLOCKQUOTE></BLOCKQUOTE></FONT></FONT></BODY></HTML>