Our system uses the 1st partials (fundamentals) for tuning from A#4 – C8
Here is an example of how our partial arrangement looks in a graph of a piano tuning.
The green line = 4th partials.
The blue line = 1st partials (or fundamentals).
Using Fundamentals for tuning A#4-C8
If A4 can be tuned precisely to A440 using its 1st partial, or fundamental, it follows logically that A#4 can also be tuned accurately using its fundamental. This same principle applies to the subsequent notes—B4, C5, and so forth—extending all the way up to C8. By relying on the fundamentals from A#4 upward, any partial changes in the treble range are avoided, resulting in a more consistent tuning process.
Reference Notes and Subjectivity in Treble Tuning
As with aural tuning methods, reference notes that have already been tuned in the lower half of the piano are used to guide the mapping of treble targets. It is important to recognize that treble tuning can be highly subjective; the guidelines provided here are intended as a foundation, but tuners are encouraged to experiment with the placement of all the treble A’s to determine the most pleasing targets for their specific tuning goals.
Organization of Treble Templates
A template is defined as “A pattern” or “Something that serves as a model for others to copy.”
The treble templates utilized in this approach are organized according to their A6 numbers. For each A6 number, there are multiple templates available, each associated with different values for A5 and A7. For example, it is possible to have ten templates all sharing an A6 number of 13.3, but each of those templates will specify unique numbers for A5 and A7. This structure allows for flexibility and customization when selecting the optimal treble targets for a particular piano.
Utilizing Sequences for Efficient Treble Mapping
A sequence serves as a highly effective tool when mapping the treble section of the piano. Rather than needing to step through every note chromatically when finding target notes, a sequence allows for the selection of specific notes—such as those needed to determine the optimal locations for A5 and A6. By programming a sequence into the SAT, the device can automatically advance to the next note required for tuning, streamlining the process considerably.
With a sequence in place, the tuner has the convenience of moving directly to each targeted note by pressing “note up” to proceed to the next note in the programmed sequence, or “note down” to return to the previous note. This eliminates the need to step through every chromatic interval, saving time and minimizing confusion during the mapping process.
(Click here to view a video on how to program a sequence into your SAT IV.)
Mapping Treble Targets: A5, A6 and A7
Accurate mapping of the treble targets A5, A6, and A7 is essential for achieving a well-balanced and harmonious piano tuning. This process begins by establishing a well-tuned D4 as a reliable reference point from which all subsequent tuning steps are derived.
Establishing Reference Points for Treble Targets
To start, set the SAT in TUNE mode to listen to A5, and play the previously tuned D4. When the SAT lights stabilize, record the displayed number; this number serves as the initial location for A5. Repeat this process for A6 and A7 by setting the SAT to listen to each respective note, playing D4 each time, and recording the resulting numbers. These recorded values will serve as the initial targets for A6 and A7.
The intervals used for these references are typically as follows: the single octave plus fifth (12th) is used for A5, the double octave plus fifth for A6, and the triple octave fifth for A7. These intervals provide practical starting points and yield reliable initial settings for the treble targets.
Mapping A5 (and A6)
Begin the mapping process with A5 and A6. Select a template that contains settings close to both A5 and A6. Tune D5, E5, and A5 to the template. The D5/A5 fifth interval is particularly useful here, as it serves as an obvious indicator of whether A5 has been stretched sufficiently. If the fifth sounds as though it needs additional stretch, use DOB to widen it. Experiment with DOB settings for A5 to achieve a pleasing D5/A5 fifth, a well-tuned A4/A5 octave, and a good D4/A5 12th interval.
Once satisfactory settings are found, and a good A5 has been mapped, select a different template than the one initially chosen, ensuring that the second template has the correct setting for A5. If A5 is now higher than before, search for a template that contains both higher A6 and A5 settings, but still maintains the correct A5 value. If A5 needed to be raised by 1 c. find a template with an A6 setting 2 c. higher.
Mapping A6
To map A6, apply essentially the same method used for A5. Begin by tuning D6, E6, and A6 according to the new template. Pay close attention to the D6/A6 fifth interval, as well as the single and double octaves, the 12th, and the double octave 12th intervals. At this stage, avoid using DOB; instead, simply select a different template with a higher A6 setting, while ensuring the A5 value remains correct. With practice, this mapping process for both A5 and A6 can be performed quickly and accurately. All results should be verified both aurally and technically.
Mapping A7
Once A5 and A6 have been mapped, proceed to map A7 using the same general procedure. When mapping A7, the A5 setting is no longer relevant; focus on maintaining the correct A6 setting when switching templates to map A7. Select a template with either a higher or lower A7 setting but always ensure the A6 setting is correct or within a cent or two. Continue to use the fifth interval in the A6-A7 octave, particularly the D7/A7 fifth, as a key reference. With experience and a clear understanding of the desired high treble sound, this routine becomes straightforward, enjoyable, and accurate.
At this point, you should have tuned the following notes: A4, D5, E5, A5, D6, E6, A6, D7, E7, and A7. This provides ample reference notes for aural checking and fine-tuning throughout the process.
Installing Templates and SAT 980 Upgrade Information
These templates can be used exclusively for treble tuning, provided they are installed in the SAT. Owners of a SAT IV who do not use the HELP menu or Inventronics protected tunings may request an upgrade to SAT 980, enabling these advanced procedures. The SAT IV 980 does not cost more than the standard model; it is simply a reconfigured version programmed accordingly before shipment.
Standard SAT IV models can also be upgraded to SAT IV 980 by sending them to Inventronics for reconfiguration. The standard model offers approximately 400 pages of user memory, while the 980 provides 980 pages, achieved by omitting the HELP menu and Inventronics protected tunings. The HELP menu, rarely used and memory-intensive, is removed to free up space. The Inventronics tunings, previously stored in protected memory, are now available but not protected, and are included on the DVD provided with SAT IV purchases.
To utilize these templates, both a SAT 980 and the Piano Manager software (Windows PC only) are required to install them into the SAT 980’s memory. Header sheets for the templates are included in the download and can be stored in a Google Drive folder for convenient smartphone access.