>Well golly Roger this is what I said......isn't it? Dealing with little >pianners with rocks for hammers takes some extraordinary steps sometimes and >this Wurlitzer y'all worked on sounds like it was a good candidate. From >all the comments I heard about the improvement of the tone on the thingee you >did good...............but I still say "rough" voicing is just that, >"rough"................... Dang it awl Jim, it's dat Florida accent that had me fooled. > >I don't know how you are using this term but tuning 'only' adresses string >tensions, therefore pitch. Other factors such as voicing, in all of its >various facets, addresses the color or tone of the thingee, be it spinet or >grand The only place and time that the frequency is correct is when you have set the A440. As usual you are right and wrong at the same time, I know you hate to be simple. Big smile. > Hard hammers excite different partials than do softer hammers but they >don't change the tension on a string. Exciting different partials will give >the apparent effect of changing pitch but this is a perceptual thingee and >not a reality. Is it?? However since we hear with, and through, perception >and not an oscilloscope we need to adjust strings to our perception of them. Since we tune all notes to partials and then do some voicing to change inharmonicity and sustain time. Two things have happened. 1. By changing the the inharmonicity of the second partial by as much as 1.5cents in the mid octave, the octave will now have to be tuned less wide. 2. In the absence of the 2nd partial your ear goes on auto pilot and reverts to the fundamental, or what ever it fixes on, that is why the bass/tenor transition causes so many problems. Calculated inharmonicity is a linear equasion, and assumes a zero contact time of the driving force. The real time measurements that I have made, proves that dwell time has a large effect on partial pitch and sustain. Trying to factor dwell time and energy transfer into the equasion. What I omited in the class was a deeper explaination with a longer string of partials at the bass/tenor transition. This area is the Achillies Tendon of electronic tuning devices and why aural correction is frequently required in this register. If the voicing is smooth corrections are rarely needed. Clear like mud, maybe by next year I will have enough data to publish some very promising results. Regards Roger Roger Jolly Baldwin Yamaha Piano Centre Saskatoon and Regina Saskatchewan, Canada. 306-665-0213 Fax 652-0505
This PTG archive page provided courtesy of Moy Piano Service, LLC