This is a multi-part message in MIME format. ---------------------- multipart/alternative attachment > Let me see if I understand this graph correctly tho.. its built on actually sampled frequencies ? Or how did you arrive at them ? Yes . . . and no: I sampled a few notes (A2, A3, A4, A5, and A6) to calculate "inharmonicity constants," and then filled in the rest of the unsampled tones with a [linear] progression. If I understand correctly, this is similar to what TuneLab uses when constructing a tuning curve. While a 'real' piano might not be as steady with the inharmonicity progressions, I think it accurately takes in to account some of the complexities of dealing with inharmonicity. I should make one point about calculating an "inharmonicity constant" [for one string]: there is really no standard way of making a calculation like this. The "constant" is an amount by which the partials increase exponentially. The problem with this is that strings do not exactly increase at a constant exponential rate. In general, the first few partials are unsteady; the predictability increases with the higher partials. One way to do this is to average the results together, but you could also do a weighed average, or even develop a more complex means of distributing the "inharmonicity constant" between the partials. This is an excellent method of predicting the location of each partial, so it is extremly useful when dealing with theoretical situations; I also think it is a very efficient means of doing normal everyday kind of tunings. But for concert level tunings, it is much more important to know the actual location of each partial, not the theoretical location of where the partial should be. > Strange behaviour by the 4:2, 6:3 and 8:4 that I am sure has a good explanation. :) There might be more going on that I haven't thought about, but the noticeable "change" in each of the lines comes from switching from the A4/D3^(1/19) linear division, to a system of pure 12th progressions. It is very strange though: especially the 4:8 and the 6:3. > I perhaps may get time to do a fairly complete tuning, sampling and graph this week. This is actually quite fun ! Good luck, I'm interested to see how things turn out! In general, what do you do with bass strings? Like I said before, I still have a problem with doing bass strings for a very fine, concert level tuning. I really dislike that the "fundamental" is missing. Do you do anything to try and counteract this phenomenon, or do you just do it the normal way? Bradley ---------------------- multipart/alternative attachment An HTML attachment was scrubbed... URL: https://www.moypiano.com/ptg/pianotech.php/attachments/ab/97/03/8b/attachment.htm ---------------------- multipart/alternative attachment--
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