I tried out the process of raising pitch with the use of the tone generator this afternoon. I see some real pedagogical value here, though I'm not sure this feature is practical for regular in-the-field use. Though I could be wrong about the latter. I was very happy about much that I experienced as I went through the process.
One detail to think about. Pitch raising in this kind of context usually involves tuning unisons-as-you-go. I found the tone generator useful for setting the first string of a unision, but since the pitch of a note in larger pitch raises is a moving target almost from the get-go, the tone generator was just in the road when it came to pulling the other strings in to match the first. I was reaching over an turning the tone generator on and off for every note I tuned.
Maybe I am pushing in the direction of too much complexity, but it strikes me as being useful to have the program accommodate this approach.
I use a split mute. I tune the center string of a trichord, then move the mute one note to the right. I can then pull in the left string of the first unison and move on to tuning the center string of the new note. The next time I move the mute to the right I can bring in the left string of the first note, the right string of the second and the middle string of the third. I am aware that there might be other approaches to this task.
If the tone generator could be deactivated by the program when the note below the "current note" is played, and triggered on again only when the note above the "current note" is played, this would accommodate the aural pulling in of unisons without the unnecessary presence of the generated tone.
