---------------------- multipart/alternative attachment On 13-okt-04, at 23:17, Bec and John wrote: > >> Ahhhh, the whole sound---the "natural note that the player hears"--- >> It's so wacky that tuners say you can't tune this way, or that the=20 >> only >> "real" way to tune is to listen to partials, or overtones. Your body=20= >> is >> capable of integrating and processing the subtle harmonic differences >> from piano to piano and note to note or section to section in a much=20= >> more >> precise and nuanced way than a machine or---flame suit on---than a >> mechanistic, linear process called partial matching. IMO. >> >> Making a piano sing is the goal of every tuner; I can do that much,=20= >> much >> easier listening to the whole tone---the note as the artist and=20 >> listener >> hear it. >> >> Best, >> >> David Andersen >> And yet, my friend, I am sorry, but I do not totally agree, After almost 35 years I have become your typical ETD tuner. My ears and nervous system and physical body are getting older by the=20 second, although my young-ish mind resists this very same process. I remember a brilliant email written by our good friend Jon Page, in=20 which he describes tuning with his ETD as merely a guide to the right=20 pitch. That 'so called pitch' is the result of matching 8 overtones (he is a=20 VT user, just like me) with the perfect matrix of a magnificently=20 composed ET tuning. All this while using the mother of all compromises to get the very most=20= out of the instrument we all are tuning every day called 'piano'. That means in essence, that by using one of the most sophisticated=20 ETD's, we no longer are bothered by the 'chinese puzzle' called ET, and=20= that we no longer have to repeat doing that very same chinese puzzle=20 day in day out, year after year. Instead, if we truly realize that we finally can rely on modern day 's=20= electronic progress, we do not have to 'solve' the Chinese puzzle, but=20= instead, we can dedicate our time to what tuning is actually about :=20 and that is "the making of tone". If your temperament is not really the way it should be, the musical=20 'tone' of our unisons will make up for it entirely. 'Tone' is the key=20 word here, dividing your intervals is another. I do not, and shall not deny that making the right 'whatever tuning' is=20= very important, but I have learned that the quality of your unisons by=20= far make up for a tuning that is not 100 % accurate. We could compare this with making music : If you play your instrument=20 perfectly without 'musicality', the audience will be bored after 10=20 minutes. If, however, your technique is not absolutely perfect but you are able=20= to bring forward your true musical capacities, the audience will=20 forgive you for your lack of technique because they will have been=20 mesmerized by your artistic talents. Technique always supports true=20 artistry. A truly magnificent ETD automatically gives the tuner the 'right pitch'. His musical talent will benefit doubly from not having to do the=20 'Chinese puzzle' for the zillionth time and pure 'music' will be the=20 result. (as I said before) : I remember this Japanese lady (Yamaha concert=20 grand course), who was able to tune like a robot. Her notes all perfectly matched the 'perfect' tuning curve, she was the=20= most perfect tuner I have ever met, but her instrument sounded like a=20 wet newspaper. friendly greetings from Andr=E9 Oorebeek "where Music is, no harm can be" ---------------------- multipart/alternative attachment A non-text attachment was scrubbed... Name: not available Type: text/enriched Size: 3554 bytes Desc: not available Url : https://www.moypiano.com/ptg/pianotech.php/attachments/67/74/20/d6/attachment.bin ---------------------- multipart/alternative attachment--
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