Utilizing Sequences for Efficient Piano Tuning

The Benefits of Using Sequences in Tuning

Implementing a sequence during the tuning process is an effective way to quickly adjust and aurally evaluate notes before finalizing the overall tuning. This method streamlines the process, allowing for immediate feedback on the tuning approach and helping to make informed decisions efficiently.

Assessing FAC Tuning and Tenor Adjustments

When working with FAC tuning, particularly when modifying the tenor partial transition from B2/C3 to G#2/A2, it is essential to promptly determine if the tuning matches the piano’s midrange. Additionally, this approach allows for swift evaluation of whether to incorporate a small amount of Double Octave Beat (DOB) or not. By using a sequence, these assessments can be performed quickly and effectively.

Applying and Testing DOB Settings

Sequences comprised of a minimal set of notes enable the tuner to apply DOB and then promptly re-tune these notes to judge whether the adjustment improves the sound. Experimenting with different DOB values requires retuning the test notes, and using a sequence facilitates this process.

Recommended Sequence for Testing

A practical sequence for this purpose includes intervals of fourths, fifths, octaves, and the double octave—specifically: A4, A3, D4, E4, D3, E3, and A2. This seven-note sequence provides sufficient information for determining an appropriate and customized DOB setting for the A2–A4 range of the piano.

Advice for Beginners

For those new to this process, it is advisable to use the same DOB setting for both the midrange and the lower range of the piano, spanning from A0 to B4. While there may be occasions that call for slightly more or less stretch in the low bass, using a consistent DOB across both regions is a sound approach initially.

Making Informed Decisions with Sequences

Quickly retuning notes using a sequence reveals whether the chosen DOB setting is suitable. Even minor adjustments to DOB in this range can be highly beneficial. Understanding how DOB functions and applying it effectively can significantly enhance the tuning’s customization to the piano.

Handling Compromises in the Tenor Area

Due to the scaling of pianos in the tenor region, compromises are often necessary. For instance, the fifth interval between A2 and E3 might benefit from more DOB, while the double octave between A2 and A4 may require less. The tuner must find the best compromise, and employing a sequence expedites and simplifies this decision-making process. The goal is to settle on what Al referred to as the “least bad” compromise and proceed confidently.

Flexibility and Use of Sequences

A sequence can include up to all 88 piano notes, with the only rule being that each note is used only once per sequence. The note up and note down buttons navigate through the sequence, either ascending or descending, which eliminates the need to scroll past irrelevant notes and allows focus on the notes that require tuning.

Conclusion and Further Learning

Sequences are highly practical tools in piano tuning. This may be an opportune moment to experiment with using a tuning sequence. For those interested in further guidance, a video is available demonstrating how to program a tuning sequence into an AccuTuner IV.

Using Treble Sequences for Efficient Tuning

A treble sequence can be a valuable tool for quickly assessing whether a Degree of Beating (DOB) adjustment might be necessary in the treble range. Utilizing a sequence streamlines the process, making it significantly faster than manually scrolling through individual notes. Since testing different DOB settings requires retuning and checking notes multiple times, operating within a sequence accelerates this process.

My Treble Sequence

The treble sequence I use consists of the following notes: A5, D5, E5, A6, D6, and E6. After completing the midrange tuning, I want to preview how the treble will sound before making any final tuning decisions. To do this, I tune A5, D5, and E5, then evaluate how these notes interact with the midrange. By listening to the fifth intervals—A4/E5 and D5/A5—I can determine whether A5 is optimally placed.

Expanding the Sequence and Evaluating Intervals

Before adjusting the DOB, I proceed to tune A6, D6, and E6 as well. Listening to these notes in combination allows me to assess various intervals—octaves, fourths, fifths, twelfths, and double octaves—making it easier to decide whether a DOB adjustment in the treble would enhance the overall sound.

Understanding DOB Adjustments

For further information on DOB, refer to the relevant post and the SAT Instruction Manual. Each 0.1 DOB increment raises A6 by 0.4 cents; consequently, a 0.2 DOB setting increases A6 by 0.8 cents, and so forth. Put differently, 0.1 DOB adds one-tenth of a beat per second to the tuning; 0.2 DOB adds two-tenths, and 0.5 DOB adds half a beat per second.

For example, if a half-beat per second increase is needed at A6, applying a 0.5 DOB will raise A6 by 2.0 cents (0.5 DOB x 0.4 cents = 2.0 cents).

It is often beneficial to use one DOB setting for the lower half of the keyboard (A0–B4) and a different setting for the upper half (C5–C8), as this can noticeably improve the tuning’s sound. Working with sequences makes these fine adjustments both faster and more straightforward, allowing you to try several DOB values and choose the one that sounds best.

(Instructions for storing and using a sequence are available in the “Sequencing” section of the SAT’s Instruction Manual.)

Considerations When Tweaking DOB

Remember, DOB tweaks should be made after the tenor partial change has been lowered. There are two treble partial changes to be aware of: one between B4/C5 and another between B5/C6. However, these seldom cause major issues. Since both lie within the A4–A6 range, DOB changes here are broad, overall decisions.

By experimenting with various treble DOB settings, you will discover which one offers the most pleasing overall sound. This is the setting you should use for the tuning.

Listening for Reference Intervals

When evaluating your tuning, focus on the sound of fifths in the fifth and sixth octaves—specifically, A4/E5, D5/A5, A5/E6, and D6/A6. These fifths should sound clean when the treble stretch is correct. Similarly, the single and double octaves of A should not beat excessively, and the D4/D5, D5/D6, E4/E5, and E5/E6 octaves should also sound harmonious. The A4/E5 twelfth is another useful reference. By listening to these intervals, you can gauge how the final tuning will sound. With practice, you will develop an ear for the “sweet spot” and use DOB settings to achieve the best compromise for this area. These skills will become second nature with experience and will enhance the quality of your work. Again, utilizing sequences makes this process much more efficient.

Applying Sequences in Tuning Practice

Once the FAC tuning has been modified with the lowered partial change, tuning selected notes within the Two-Octave Temperament range and making aural checks will quickly reveal whether the sound is satisfactory.

Store the following sequence on Sequence Page 1:

On Sequence Page 2, store this sequence:

Be sure to note (or write down) the DOB settings you want to use for the midrange and treble, as they may differ. These seven notes in both ranges provide enough information to determine whether a DOB adjustment is needed, and how much. This method customizes FAC tuning to the piano.

When finished using the sequence, press and hold BluShift while using the SEQ/OCT buttons to return the SAT to Chromatic mode. The stored sequences remain on the SAT and function on top of the tuning saved in the device.