Tuning Articles
FAC Tweaks: Which one should I do first?
This post should prescribe a general approach to applying these FAC Tweaks. This FAC Tweak 'ordering' is a starting point. As the technician becomes more familiar and adept with these tweaks, to some extent, their order can be modified and tweaked to suit the work flow of the technician. Continue reading
Creating A Header Sheet for xMem Tunings
This post is on how to create a header sheet for the xMem sections of the SAT IV. There are probably more ways to do this than the one contained in the video, but this one works nicely and is fairly quick. This method uses Excel and Word. I hope this video can be used by those with only limited experience with Excel. Those with a basic knowledge of Excel, will have no problem with this method. (Contains video) Continue reading
Library Files and Piano Manager
Library Files or .LIB files are the type of files used by the Sanderson AccuTuner IV's 'Extended' Memory. This upper memory or 'Extended' memory greatly expands the capacity - the number of tunings - that can be stored in the SAT IV. This video will show how to use and work with Library files and Piano Manager for storing and retrieving tunings in the Extended memory of the SAT IV. (Post contains Video) Continue reading
The “A” Multiplier Default
The need for this tweak has been around for some years now, but it should be used whenever using an FAC tuning. (Contains button pressing video). Continue reading
Lowering the FAC Tenor Partial Change: The “Why”
When using the A2-A4 range for tuning a 2-Octave Temperament, all the notes within that 2 octave range need to use their 4th partials. This eliminates any possibility of a partial change error in that A2-A4 range. (Contains button pressing video). Continue reading
Lowering the FAC Tenor Partial Change: The “How”
Start by setting the SAT's 'Up or Down Memory Storage' to DOWN. The STO/MEM + Note UP or DOWN command sets the direction the SAT will automatically go, after a note is stored. Press BluShift and then STO/MEM to store the settings for B2, A#2, and A2. (Contains button pressing video). Continue reading
Using a Sequence
Using a sequence is a great way to quickly tune and make aural checks before committing to the complete tuning. (Contains button pressing video). Continue reading
Check/Correct All Partial Changes Using the SAT’s Partial Change Correction feature
This Partial Change Correction (PCC) feature is relatively new to the SAT IV's programming. So if your SAT doesn't seem to be responding to the STO + MSR command it's program may need to be updated. Being able to correct partial changes is unique to the AccuTuner. An FAC tuning has fewer partial changes (3) than any other tuning system, and yet it is the only device capable of correcting them. (Contains button pressing video). Continue reading
Double Octave Beat (DOB)
DOB allows us to easily stretch or contract a template or tuning stored in the SAT. Continue reading
Using PCC to Tune to Non-Standard Pitch
There are a number of ways, when using an AccuTuner, to tune to non standard pitch. PCC is one of the easiest and most versatile. When PCC is used for tuning to non standard pitch, make note of the PCC adjustment so it can be reversed when the tuning is finished. Continue reading
Adding Stretch to the Bass Using PCC
In addition to correcting errors at partial changes, the Partial Change Corrector (PCC) may also be used to add stretch to the bass. The main difference between using PCC in stead of DOB, is that with PCC the adjustments stay with the tuning after the SAT is turned off, whereas the DOB settings are not. Continue reading
FAC Tuning Routine Using the SAT IV’s Partial Change Correction Feature
All computerized tunings have partial changes. Every partial change in a ‘computer generated tuning is a potential error in waiting. Correcting errors at partial changes improves the sound of the tuning. … Continue reading
Trying a Different “F” Number for the FAC Tuning
This post is part of a series on working with an FAC tuning. There are a number of tweaks that can be done to further fit an FAC tuning to the piano, before changing the F number. Continue reading
Using a Custom Over Pull for Pitch Corrections
Programming a custom over pull is so easy it's not worth making a video of it. The custom over pull is 'activated' just like the regular pitch raise feature, but instead of rolling off onto the BlueShift, after MSR stops the lights, roll off onto the Green Shift. Rolling off on to the GREEN shift activates he Custom Over Pull and uses the amounts stored on Page 123. Continue reading
Mapping
Mapping (and tuning) notes during the mapping process is the equivalent of setting the temperament in aural-only tuning. Continue reading
Templates
Template: A gauge, pattern, or mold (such as a thin plate or board) used as a guide to the form of a piece being made; an overlay; something that establishes or serves as a pattern. Continue reading
The A4 Numbers
These quick and easy measurements tell a lot about the piano. They also give me the locations of two 'Target' notes that will be used for the tuning. Continue reading
The 4th A4 Number
The '4th A4 Number' is the width of the prime's 2:1 after it has been tuned as a pure 4:2. Knowing this 4th A4 number from the very beginning lets me know immediately what I'm going to be dealing with on that particular piano. Continue reading
Working with a High 4th A4 Number Piano
I've measured the 4th A4 Number on one piano to be as high as 4.2 c.. That means when A3 was tuned as a pure 4:2, the A3/A4 2:1 was 4.2 c. wide. A 2:1 octave there, at that width, will be beating too much. Continue reading
Working with a Low 4th A4 Number Piano
I've come across pianos whose '4th A4 Number' is 0.0 c.! I didn't know that was even possible until I measured one. Yes, what that means is that when the A3/A4 octave is tuned as a pure 4:2, the A3/A4 2:1 is also pure. Continue reading
Prime Octave
When we were working on all this, we kept needing to talk about the A3/A4 octave. Over time, it just became easier to use the words 'Prime octave' instead of saying the A3/A4 octave. Continue reading
The Main “A” Targets and the Mini-Targets
Even though the width of the prime octave's may be perfect, the piano's scaling within that octave often results in a pair of 'unbalanced' prime 5ths: (A3/E4 & D4/A4) Continue reading
The Prime 5ths
The prime 5ths are used to determine the best prime octave width for the particular piano being mapped and eventually tuned. When the widths of the prime 5ths are added together, when that total is -3.0, the prime octave width is about right. Continue reading
Working with the Prime 5ths
My approach to midrange tuning is minimal beating. I don't want to stretch any more than necessary to get a pair of good sounding prime 5ths contained within the prime octave. Continue reading
Balancing the Prime 5ths
Balancing the prime 5ths involves tweaking the shape of the prime octave 'curve' by slightly raising or lowering the mid point of the prime octave curve, while leaving A3 and A4 unmoved. Since using D#4 is not practical to be used as a mapping note, D4 and E4 are used instead. D#4 can easily be placed between the settings of D4 and E4. Being able to apply this tweak to the tuning is a unique feature of this system of mapping with templates and then using the LC Spreadsheet to create the tuning. Continue reading
Bob is a great tuner. He has tuned not only my studio piano but those of my my voice and piano students. He’s more than just a tuner, he’s a fine technician as well. He’s a fine musician too, possessing...
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Bob, your class at the Convention was amazing. Now I have a thirst for more. I am interested in your tunings for my SATIV.
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Bob, my piano sounds much better! I'm impressed with your ear and your knowledge.
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dear bob, just wanting to tell you, piano sounded great. yours is the best tuning I’ve had in years. let’s set up another time for some more magic.
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Bob, I just wanted to tell you how wonderful the tuning job was, I never heard the piano sound better, either I am getting older and cannot hear or you are getting better, I think it is the latter. You...
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. . . the piano sounds great!
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Thank you, Bob, for the fabulous job you did with our piano. It sounds wonderful! Regards, Meryl Wade
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Thank you so much. We feel really grateful to have you keeping our piano in working condition. It’s so nice to have someone we can trust and who always does such a great job.
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Bob, I have owned the 1904 upright you recently tuned for over 50 years. I don’t know what magic you did, but I must compliment you! My sturdy old friend has never sounded better in all the years I have owned...
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Hi Bob. Thank you so much for the exceptional job you did tuning my husband’s old piano back on February 13th. He was thrilled and it sounds just gorgeous now! Best, Janet Mabon
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Thank you so much, Robert, for the wonderful job you did tuning my very old upright grand piano. Stopped playing long enough to write this review. You worked a miracle and what a thrill to hear those rich bass sounds...
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Just a note regarding my Schimmell grand piano. It sounds fantastic and bell like with very pure tone just like when I bought it. I played it quite a bit this weekend and as you noted one hears every note....
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Good morning Bob…….Thank you for sending the excellent report. It is well written, thorough and….well, perfect! You have mucho expertise when it comes to pianos…..we were lucky to have such a person….
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Very professional. . . . .
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My Hamilton console piano had not been tuned for over 6 years and moved from humid South Carolina to dry Tucson. So I called a friend, who plays the contemporary music at our church, and he immediately recommended Bob Conrad....
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Bob did the best job possible tuning my piano which I had neglected for five years I am ashamed to admit. Thanks Bob it sounds awesome....
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Bob, I just wanted to thank you again for all you did for my little Steinway. Even I sound good now, and that is not an easy task !! Thanks again, Jaynie Kane
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Bob, I am so pleased with my (sounds like new) piano. I have been playing it for the past hour and am just delighted. It sounds SO much better. Notes that didn't resonate before that were supposed to...
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I acquired a Yamaha Concert Grand CFIIIS in March of 2011. It had been part of the Artists Reserve unit at the Yamaha facility in CA and had been used for concert work for a period of about 10 years....
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