Comprehensive Guide to Templates in Piano Mapping

Introduction to Templates in Piano Mapping

Templates are essential tools for mapping the various sections of the piano during this tuning process. Merriam-Webster defines a template as a gauge, pattern, or mold used as a guide—essentially, something that establishes or serves as a pattern. In piano mapping, templates serve precisely this function by providing a structured approach for identifying and organizing target notes across the instrument.

The Role of Templates in the SAT IV “980” System

Each template within the SAT IV “980” system is designed to fit a single page of SAT memory. Notably, each page can store what is essentially three distinct tuning templates. This efficient structure allows the SAT to hold over 800 individual templates for each of the piano’s primary sections: bass, midrange, and treble. Such organization maximizes storage capacity and supports thorough mapping across all frequency ranges of the piano.

Template Organization by Piano Range

  • Bass Section (A0–G#2): This segment of each template is dedicated to mapping the lowest notes, spanning from A0 to G#2.
  • Midrange Section (A2–A4): This part addresses the central notes, specifically from A2 through A4.
  • Treble Section (A#4–C8): The treble section manages the highest notes, from A#4 to C8.

When mapping the entire keyboard, it is possible to use sections from different template pages. This flexibility ensures comprehensive and accurate coverage of all notes.

Templates facilitate the identification of specific tuning targets, which typically include: A0, A1, A2, A3, A4, A5, A6, A7, D3, E3, D4, and E4. After the optimal settings for these tuning targets are determined, the values serve as the foundation for tuning the instrument. Each tuning target is then entered into the Littau-Conrad Spreadsheet, enabling the development of a tuning.

Using templates for mapping alongside the Littau-Conrad Spreadsheet creates a sophisticated and precise tuning method.

The process of mapping the piano using templates, entering the corresponding values into the Littau-Conrad Spreadsheet, and subsequently transferring the tuning information via Piano Manager (Inventronics Software) into the AccuTuner, forms a comprehensive workflow for piano technicians.

This method ensures that the technician maintains complete control over every aspect of their work. By following these steps, the technician not only streamlines the tuning process but also achieves greater speed, ease, and precision when compared to other available approaches.

Midrange Mapping

The tuning process begins in the midrange by identifying the A4 setting through measurement. Templates are organized in two primary ways: first by A4 for midrange mapping, and second by A6 for treble mapping. On the Template Header Sheet, it is common to find several templates with the same A4 value but different A3 values; the same structure applies to A6.

Selecting the best width for the A3/A4 octave is critical. Once an appropriate A3 setting is established, a template with the desired A4 and A3 is selected. For example, pianos with an A4 of 10 may require an A3 value of 1.0, while others may need -1.5. With approximately 800 templates available in the AccuTuner IV “980,” it is highly likely a template with accurate settings for both A3 and A4 settings can be found.

Treble Mapping

Mapping the treble follows a similar process and most often requires a different template from the one used for the midrange. Treble templates are primarily organized by their A6 values, and as with the midrange, multiple pages may share the same A6 while differing in A5 and A7 settings. Adjusting the width or stretch for treble targets is accomplished by selecting different pages. If a greater stretch is needed between A4 and A6, a template with a higher A6 can be chosen.

The D4 note serves as a valuable reference for finding starting points for A5, A6, and A7. The process involves selecting an initial template for A5 and A6 using D4.  If some adjustments are needed, simply switch templates as necessary to find the preferred settings. Once the desired values for A5 and A6 are identified, they should be notated for use in the final tuning.

After mapping A5 and A6, A7 is approached in the same way. A template containing the mapped A6 is chosen, and various A7 settings can be chosen for testing. With the vast selection of templates, a close match for both A6 and A7 is usually available. Once the best A7 value is found, it is recorded for entry into the spreadsheet and subsequent tuning creation.

Templates are solely used for mapping purposes. Merging templates with aural and technical skills has streamlined the mapping process significantly. The Littau-Conrad Spreadsheet ensures that all mapped targets are achieved with precision during the tuning’s creation. For more information on mapping midrange and treble targets using templates, refer to additional posts on this website.

The Littau-Conrad spreadsheet combines the benefits of individualized mapping and precise target identification with the advantage of reducing manual operations throughout the tuning process.