The prime octave needs to be wide enough for the 5ths to sound good, but not so wide as to create excessive beating in the prime 4ths, or in the prime octave itself. Continue reading
Knowing the width of the A3/A4 2:1 after it has been tuned as a pure 4:2 is a useful and interesting piece of information about the piano being tuned. 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
Once the prime octave (A3-A4) has been mapped, the sub-prime octave (A2-A3) can be mapped. The same template is used for mapping both the prime and the sub-prime octaves. Aural tuning experience is very helpful for all of this. Technical skills do not exclude aural skills. But at the same time, aural skills shouldn't ignore technical skills. Continue reading
The idea of actually being able to tune and/or measure pitch on any piano to within one tenth of a cent accuracy is very wishful thinking. And the idea that the piano 'system' is capable of a stability within one tenth of a cent is also very wishful thinking. Please keep that in mind when reading these posts. Continue reading
This post is an attempt at the 'bare bones' instructions for mapping the prime octave using a SAT IV "980" with templates. Continue reading
Templates are not 'tunings', they are more of a pattern or mold used for finding target notes. . . . 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
Once A4 has been tuned, the locations of it's 2nd, 4th, and 8th partials are measured. Continue reading
'Mini-targets' are notes D4 & E4, and D3 & E3. Even if the prime octave width is perfect, the scaling contained within that octave will often result in a pair of 'uneven' or 'unbalanced' prime 5ths (A3/E4 & D4/A4). Continue reading
"Mapping" is the process of determining the settings for each A, as well as D3, E3, D4 & E4. Mapping is best done using both aural and technical skills and techniques. Continue reading
Inaccurate partial changes in tuning software can create problems in the tuning. When using any ETD's computerized tuning system software, errors at it's partial changes are common, can be large, and can easily cause audible 'hiccups' in the tuning. 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
To make them easily available, these download tunings are in both .SAT and Excel file formats. Also included is a Header Sheet in Excel form, which contains the piano mfg, and model, and the settings for each 'A' on the tuning. Continue reading
Available for download here is a group of individual pianos (complete 88 note tunings). These tunings were the result of a custom mapping routine to create a custom tuning for that particular piano at that time.
These tunings… Continue reading
The new Sanderson Accu-Tuner Max "980" has 980 pages of memory - more than double the number of available pages of the standard SAT IV. Continue reading
DOB allows us to easily stretch or contract a template or tuning stored in the SAT. A DOB setting of .1 expands the double octave - increasing the beat rate of the double octave - by one tenth of a beat per second. A negative or minus DOB setting contracts the width of the double octave thereby decreasing the beat rate of the double octave in one tenth beat per second increments. DOB can be used where ever more or less stretch is needed. DOB is a feature found on the Sanderson Accu-Tuner III and IV. Continue reading
This article addresses the potential 'Tenor' partial change issue found in all FAC Tunings, and describes a method for checking and correcting it. Continue reading
The Piano Librarian (MIDI SATs)/ Piano Manager (USB SAT IV) Software is the ‘connection’ between the SAT III or IV and the computer. Without this software for your SAT, the only way to enter a ‘non-FAC’ tuning into the… Continue reading
The SAT IV has more than double the memory of the earlier SATs. The SAT IV actually has 4 separate memory 'areas', for 4 different groups of tunings.
Pages 1-120 are exactly like the older SAT IIIs. They can be written to or written over, can be saved to a file, and sent back and forth from SAT to the Piano Librarian Program - Piano Librarian to SAT.
Pages 121 - 140 contain special pages used for storing sequences, temperaments, custom pitch raise amounts, Exam pages, and so on.
Pages 141-309 contain tunings provided by Inventronics. These Inventronics tunings, are 'protected' and cannot be lost, altered, damaged, or written over. But they can be tweaked with DOB, copied and pasted, &c.
Pages 310-589 we refer to as the 'upper memory'. These 279 pages of upper memory are available for us to use. Continue reading
For those without Accu-Tuners, or for those with older Accu-Tuners without the Piano Librarian software, the download package may still be of interest. In addition to the tuning files in the .sat format, the download package also contains the templates in the Excel Spreadsheet format, for opening with Excel or any other spreadsheet program.