etd for inharmonicity - tad long

[Isaac OLEG SIMANOT]

>
> by reading here and in the archives, I see that some of you use these
> devices intensively, and combine them with interval testing. what
> strikes me
> as most valuable is the ability of the etd to make a precise map of the
> inharmonicity ranges on a given piano, enabling you to select which
> intervals to rely on [which partials to listen to].
>
> can anyone offer a concise description of how you map a tuning to the
> inharmonicity readings on a given piano? Please describe your sequence,
> including when you save the file and how you name it for reuse
> next time. i
> am particularly interested in how you use the graphic view of the scale,
> whether you sample c2, c3, c4, c5, c6, c7 and also the tops and bottoms of
> string ranges, and how you annotate which partials you want to use for a
> given range.


Jason,

I think that it is of little interest to map for inharmonicity for tuning,
as it is to focus on one partial only. These are good methods and we may be
aware of the kind of iH the piano have, but, depending of the voicing some
partials will be more or less present so the Ih reading is useless if it
does not take in account the voicing.

I tune aurally, and expect the ETD to propose pitches that correspond to the
tuning I want. I never listen to partials but to beats between notes
(unisons yet done on 2 strings minimum generally)

What I want the ETD to do is instantanly adapt to my wishes, for example if
I find that A2 may be tuned a little low, I want the ETD to accept that and
to use it in the computing (what VT100 does).

Talking about setting the pins, I tuned today a Kaway KG2 that was not tuned
since 2 years. Last tuning of the day, the pitch was 18 -20 cts. flat to
begin with. I started a few sampling to give the VT 100 some data to compute
with, so I tuned one string of the temperament octave, while having the data
recorded by the VT. Doing that, I took the mesure of the tuning lever
movement necessary for that pitch raise, doing that as if I where not using
an EDT (that means, doing a fast temperament with too large intervals).
Funny enough, I soon had the good movement to end with the string at the
correct amount over pull (30%) , as the VT100 confirmed me. So I begin to
raise the extreme bass, just for tension, going to the break and doing
unisons as I go, but keeping in ear the correct sound I was after (no big
over pull on the basses BTW, 10% only).

Then I PR all the plain strings, doing unisons as if I where tuning, while
using the 30 and 35% over pull for references, but doing the job aurally
first.

When finished, I checked the tuning, correct a few pitches in the 4 to 5
octave zone, checked as if I where just tuning the piano. No much work was
left. 1 hour and the piano was in tune and nice, and I know it will not
drift because it was really well settled.
When I was tuning I could feel the strings and pins taking their place as
the sound of the note became nice and round. If I where to try to tune while
looking at the display I simply could not obtain this quality in so little
time, but the ETD helped me to be sure of what I was doing there.

As I tuned this particular piano very accurately 2 years ago with the help
of RCT ( a semi tone PR this time BTW), I feel the pins and strings finding
their natural way to tone.

I don't want to compute tunings, I don't want to have a theory approach on
how a particular brand/mode may be tuned. I want the piano to be in tune
with itself, and I want the instrument to help me in this way, I don't know
other method than making tone so the intervals are sounding good and natural
themselves. A theorical tuning can be a good approach on bad days, or if you
feel you can't find your path thru the piano, an ETD you know you can trust
is too a very good companion.

I've been making pitch raises before concerts (rehearsal) while the crew
where 10 people mounting stands for a 100 guys choir, hammering and making
noises. The ETD allows for the piano to be immediately playable (but the
tuning was certainly too rigid, because it was a 1 partial curve tuning).
That is too what these tools are for.

Sorry for the long post.

Regards.

Isaac OLEG





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