The ‘main’ targets are every A on the piano (including A0 and A7).
The ‘mini’ targets are the D’s and E’s in the 3rd and 4th octaves.
The LC spreadsheet uses the locations of target notes to create the tuning.… Continue reading
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
Once A4 has been tuned, the locations of it's 2nd, 4th, and 8th partials are measured. Continue reading
Mapping the treble uses:
1. information found when the A4 numbers were measured and
2. the completed mapping of the prime octave: A3, D4, E4, & A4. Continue reading
Once the location for A2 is known, mapping A1 is very straightforward. A good location for A1 is as a 6:3 octave (from A1), 3.0 cents wide. Continue reading
Mapping A0 can be done any number of ways. It can be mapped however you like, but just like A1, once you have it where you want it, it's location must be measured using it's 4th partial, since the LC Spreadsheet uses the 4th partials for A0 - A4. Continue reading
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
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
When using any tuning software, different partials are used to tune different parts of the piano. The partials used are designed into the software. All tuning software systems therefore contain partial ‘changes’ as part of the tuning.… Continue reading
It is practically impossible to talk about pianos, piano tuning, and piano care without talking about the humidity. A first step in understanding how humidity is effecting the piano is knowing what the humidity is in the home or room where . . . Continue reading
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