Mapping Pianos Using Templates

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.

For mapping a piano, the templates serve 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 fits a single page of SAT memory. Each page’s template can also be thought of as three distinct tuning templates: one for the bass, one for the midrange, and one for the treble.  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

• 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.

Typical tuning targets include: A0, A1, A2, A3, A4, A5, A6, A7 and D3, E3, D4, and E4.

Templates are used for mapping from A2 – A7.   After the midrange and treble targets have been mapped, A0, A1 (and A2) are mapped using direct interval tuning and aural checks.  Once all targets are known, their values are simply entered into the Littau-Conrad spreadsheet for creating the tuning.

The process of mapping the piano using templates, entering the corresponding values into the Littau-Conrad Spreadsheet to create the tuning, and subsequently transferring the tuning 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.

Midrange Mapping

The initial phase of piano tuning centers on the midrange, beginning with the identification of the A4 setting through precise measurement. This step is fundamental, as the measured A4 frequency determines the selection of a suitable tuning template for the instrument.

Tuning templates are primarily organized in two distinct ways: firstly, by A4 for mapping the midrange, and secondly, by A6 for treble mapping. On the Template Header Sheet, it is common to find several templates sharing the same A4 value but differing in their A3 values. This organization is similarly reflected in A6 templates, where multiple templates may have identical A6 settings but different A5 and A7 values.

A critical early step in the tuning process is determining the optimal width for the A3/A4 octave. Although our aural tolerances can vary, the width of the A3/A4 2:1 octave should generally be less than 2.8 cents wide. For many pianos, an effective tuning involves setting the prime fifths to be approximately -1.5 cents narrow. Once an appropriate A3 setting is established, a template matching both the A4 and A3 values is selected to proceed with the tuning.

Exceptions in Midrange Mapping

In certain cases, the width of the A3/A4 2:1 octave may need to be expanded to as much as 3.5 or 4.0 cents, with the prime fifths narrowing to more than 2.0 cents. Widening the fifths leads to a broader octave, while narrowing them results in a tighter octave. Recognizing these requirements early in the tuning process is advantageous, as it aids in setting the prime octave width more effectively from the beginning.

Mapping A2: The Subprime Octave

The width of the prime guides the mapping of the subprime octave. If the prime fifths are tuned to about -1.5 cents, a reasonable starting width for the subprime fifths is roughly half that value, or around -0.7 cents.

The tuner begins by tuning D3 to the template, then measuring the width of the D3/A3 5th. It’s aural relationship between A3, D4, and A4 is carefully assessed and adjusted as needed. The D3/A4 twelfth (P12th) is also checked aurally and measured. It may be slightly wide or narrow, but when D3 is accurately tuned, the D3/A4 twelfth will be close to pure.

If any issues are detected within these intervals, both notes should be re-examined to ensure their stability and accuracy. It is important both subprime fifths remain narrow throughout this process.

Tuning challenges may arise due to factors such as scaling issues, transitions from long to bass bridges, and short scales. Nevertheless, achieving a balanced compromise in the prime octave and prime fifths will facilitate successful mapping of the subprime octave. Occasionally, it may be necessary to widen the subprime octave beyond typical parameters to achieve the best sounding compromise. In such cases, A2 might need to be lowered so that the width of the A2/A4 (4:1) double octave exceeds 4.5 to 5.0 cents.

Treble Mapping

Overview

The process of mapping the treble shares structural similarities with midrange mapping, but it typically requires selecting a different template than the one used for the midrange. To begin the treble mapping process, a well-tuned D4 is used as a good reference point for determining appropriate starting values for A5, A6, and A7.  Treble templates are primarily categorized by their A6 values. When a greater stretch between A4/A6 is needed, a template with a higher A6 value can be selected to meet the requirements. Multiple template pages may share the same A6 value but differ in their A5 and A7 settings. This organization allows for flexibility, making it possible to adjust the width of both A4/A5 and A5/A6 octaves by choosing different templates.

Template Selection and Initial Mapping

Using D4 as a reference note, the tuner selects an initial template prioritizing A6 with secondary consideration for A5.  First, tune A5 to the selected template, and aurally check it’s location with other previously tuned reference notes (A3, D4, A4, and D5.   If the desired sound is not achieved with the first treble template selection, using DOB or switching between templates is a straightforward method for refining the settings.  Map A5 first.  Once ideal values for A5 is established, it may be determined a different setting or template for A6 may be needed.  If so, select a new template with the new A6 but with the correct setting for A5.   Tune A6 and aurally check it’s location with other previously tuned notes as a reference:  A4, D5, A5, and D6.  Once a good location for A6 has been established, record the values for both A5 and A6.  Record their values so they can be entered into the LC spreadsheet for the creation of the tuning..

Mapping A7 Values

After mapping A5 and A6, attention turns to A7. Again, using D4 as a reference note for A7, the tuner selects a template that includes the chosen A6 value and a starting point setting for A7. The availability of a wide range of templates ensures that a suitable match for both A6 and A7 can be found. Good aural checks for A7 can be made using D7, A6, D6 and A5 among others.   Once the optimal A7 value is determined, it should be recorded so it can be entered into the LC spreadsheet for creating the tuning.

Templates in the Mapping and Tuning Process

Templates are employed exclusively for mapping. Their primary role is to identify and locate the best sounding target notes, which will later be used for the piano’s tuning configuration in the Littau-Conrad (LC) spreadsheet. While some individuals may opt to use these templates for the actual tuning, the template’s main function remains focused on the mapping phase rather than the tuning itself.

Comprehensive Note Coverage and Target Locations

Each template includes all 88 notes of the piano. This coverage allows for the tuning of notes beyond just the A targets. These additional notes can be used to verify and check the accuracy of the target note locations, ensuring that the notes selected for the LC spreadsheet are precisely identified for the subsequent tuning creation.

Skill Integration

The mapping process has become more streamlined and effective through the integration of templates with both aural and technical tuning skills. This synergy enhances the overall efficiency of mapping target notes, facilitating a smoother workflow toward achieving optimal tuning results.

The Littau-Conrad Spreadsheet

The Littau-Conrad Spreadsheet serves as a crucial tool in the tuning process. It ensures that all previously mapped target notes are accurately met when constructing the final tuning for the piano. The spreadsheet provides a structured framework, supporting the precise realization of the intended tuning outcomes.