I'm afraid I just have to reply........ I do state that degrees in inharmonicity vary. Very. Even within one instrument. I don't see how you can make me say differently from the content of my previous mail. I think it is a nice idea to leave texts unscattered. Apologise for being a bit strict on this. Even so I don't put in extra inharmonicity above what the piano tells me to do. I replied there to someone who wants to know how many he/she should add. I like your explanation of tuning on volume. Gives me something to think over. To be (to) fast in answering I'd tend to answer that the volume of a unison out of tune varies and therefor is concieved as being louder (we focus on the loudest moments.). It is this varying that makes the beats. In the bass I tune the contrabass (single stringed) mostly without any other checks but octaves. And I feel very secure about it. Maybe I am using your method there: listening to volume. I never get complaints about my bass. Sometimes I don't agree with myself, then I don't feel that secure. But then I use every possible extra help (aural). Mostly I end up with deciding on the third and duodeciem. greetings John Meulendijks Tilburg the Netherlands ----- Original Message ----- From: Newton Hunt <nhunt@optonline.net> To: <pianotech@ptg.org> Sent: Thursday, February 15, 2001 12:14 AM Subject: Re: inharmonicity and "Re: newbie questions: stretching" > > degree in inharmonicity would not differ in the treble side among different models. > > Sorry, inh DOES vary but a very small change in speaking length makes > a huge difference in inh. > > > I tried to make a point that you cannot hear by ear how much inharmonicity there is. > > True to a point. Once understanding inh and stretch and how it > effects double and triple octaves I know what I am dealing with. That > is experience coupled with understanding the effects of inh. That > will come with time. > > > The stretch you can put up on above that is what you can try to hear. > > Doing more or less stretch than the piano calls for is difficult for > me as an aural tuner but I can do it easily with an EDT. I am very > easily confused so don't confuse me, please. Agree!!! > > > In the bass I try to do it but in the end: > > checking myself by ear, I don't believe I do it > > (Though stretching can be very healthy(smile). > > If it is a good sounding bass you stretch. There can be no > questioning of that. How MUCH you stretch is an issue that will keep > us tuners stretching our heads for ever and three days. If you do not > stretch the bass octaves the bass will sound constrained and > constipated. If it sounds free and open you are stretching. I may > stretch more or less than you do but that is a matter of taste and > opinion not of science. > > There is an effect of stretch where the octave becomes louder than at > any other setting. This "power point" is very narrow and one has to > move the tuning hammer very small amounts to find it but once you have > hard this occur you will search for it in every tuning. The effect is > of the beginning of a beat that never resolves itself into a beat > because the sustain does not remain long enough for it to resolve into > a beat. You know that out of tune unisons sound louder than in tune > unisons. The same is true for octaves so I intentionally use this > effect to find that narrow point where I can create a louder octave > with a beat that is too slow to hear. It is a matter of phasing. You > can tune two strings so they sound loud and then change one string and > you can make the sound diminish. This is a matter of the two strings > being in phase and then out of phase. It is this phenomenon that I > use in octave tuning and the octaves are stretched by a considerable > amount. I have had other tuners tell me they like more and others > have said they liked less stretch. The difference is a difference in > esthetics not quality of tuning. > > So there. Now you have ME confused.( I don't believe I really confused you) > > Regards, > > Newton
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