‘Templates’ are used for mapping the different sections of the piano.

From the Merriam-Webster:  A Template is defined as:   Template:  A gauge,  . pattern, . or mold . . used as a guide . . something that establishes or serves as a pattern.

Templates are used for mapping the different sections of the piano.  One templates = One page of SAT memory.
However, each template (page) contains 3 tuning templates on a single page!
Utilizing the SAT’s pages (memory) in this way, allows for more than 800 bass templates, 800 midrange templates, and 800 treble templates to be stored in a SAT IV “980”.

The bass section (A0-G#2) of each template can be used for mapping notes A0-G#2.
The midrange section (A2-A4) of each template is used for mapping the midrange (A2-A4).
The treble section of each template is used for mapping the treble (A#4-C8).

Different sections of different pages will be used when mapping the different sections of the piano.

Mapping starts with the midrange, specifically A4.  The A4 setting for the piano is found when measuring the A4 numbers.
The midrange templates first level of organization is the A4 numbers, from lowest to highest.

{Click this link to view the Template Header Sheet:  Template Header Sheet  }

As seen in the header sheet, there will be a number of templates with the same A4 number, but each of those templates with the same A4 numbers will have a different A3 number.   For instance, using the header sheet,  you can see the midrange templates with A4 @ 10 are on pages 498 – 512.  The A3 numbers on each of those A4 @ 10 pages will range from the lowest A3 @ .9 to the highest A3 @ 4.1.   Finding the best width for the A3/A4 octave is done by just switching to a page with a higher or lower A3 setting, tuning whatever reference notes desired within the A3/A4 octave, and then determining which template contains the best width for the A3/A4 (prime) octave.   If needed, DOB can be used to widen the octave below the .9 location.

The treble is mapped in much the same way.   Now the A3 location can be used along with the A4 numbers to find a template that will have a starting point for both A5’s and A6’s locations.   The treble templates first level of organization is the A6 numbers.   Here too, there will be a number of pages with the same A6 setting, each with a different setting for A5.   The A6 @ 10.5 pages are pages 611 – 627.  Those pages, all with the same A6 @ 10.5, have different A5 numbers starting @ 1.7 and going up to 4.4.

Trying a different width (stretch) for the treble targets, is simply a matter of switching pages.

A starting point template (guess) for both A5 and A6 can be found by looking at the A4 numbers, and the new found setting for A3.  Since every template contains settings for all 88 notes, any notes can be tuned/checked/used as a reference note to determine the best target notes locations.   If needed, DOB can also be used with the templates.

Templates are being used as:  A gauge, pattern, or mold . .used as a guide .something that establishes or serves as a pattern.‘   We’ve not using them for ‘tuning’ but for mapping target notes.

 

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Before the LC spreadsheets, templates were used for tuning!  When tuning using the templates, a tenor offset between G#2/A2 was always to connect the bass and midrange templates.  DOB was often needed in the midrange and bass, and 3 or 4 different pages were used for the tuning – one template was needed for the bass, a 2nd template for the midrange, a 3rd template for A4 – A6,  and maybe a 4th template for the top A7 – C8 area.  A sheet of ‘directions’ was also needed for the tuning, containing the amounts and locations for applying offsets, DOB, page numbers, and so on.

Doing it that way does give excellent results, but its complicated.  There’s a lot of button pressing during the tuning while following the directions, and its a lot of work.  But, it can be done – we did it that way prior to the LC Spreadsheet.  The tunings sounded really good though, but it was too time consuming, too much work, even for the results we were getting.  Even with 900 templates, it was virtually impossible to hit all the targets exactly on every piano.

Using the LC spreadsheet is a much better way to go.  [ “The ‘Godsent’ spreadsheet! ]  It has all the advantages of personal mapping and finding targets but without all the button pressing during the tuning.  All the button pressing is done during the mapping, not the tuning.   The mapping info is entered into the spreadsheet, and the tuning is created there.  It (LC) produces smoother transitions in the bass and midrange – in those areas where DOB and the tenor offset may have come into play in a templates-only tuning.

Now, with the Littau-Conrad Spreadsheet, templates are used only for mapping.  Using templates for mapping makes it easy to find targets using aural and technical skills and an AccuTuner.   The LC Spreadsheet enables hitting all the targets exactly for the tuning.   You can read more about how templates can be used for mapping the midrange and treble targets on other posts on this website.