I remember at the "Little Red School House", when LaRoy pulled up a bass string in a unison at the agraffe and cleaned up a unison. I do that first all the time when I come across one funky string in a unison...it don't always work though.......;-[ David Ilvedson, RPT Pacifica, California ----- Original message ---------------------------------------- From: "Susan Kline" <skline@peak.org> To: Pianotech <pianotech@ptg.org> Received: 1/6/2006 10:08:14 AM Subject: Re: Cracking the unisons >Hello, Ed >Weinreich effect? Any place I can find out about that? But I agree that >it happens, as you describe it. One can even pluck across unisons, and >find a different profile for some which still sound uniform with the >others, just listening with bare (if aging) ears. >My feeling is that there's a lot more than just frequency for setting unisons, >since one has to make false beats (even small, slow ones) cancel each other in >a particular way for the beauty of sound to emerge. Not, perhaps, the most >efficient way, which sometimes causes the sound to contract and go thin and >white. And of course, it has to be stable. >I don't use the box, so this is off the top of my head, but I feel that to >get the sound consistent and warm and round and all those good things one >needs such a connection with the sound and its properties that one feels >immersed in it. I don't think I'd like to share the mental space with a >very factual widget with flashing lights or turning circles, etc. Besides, >flashing lights make me uneasy. >Just MHO (Marshall, "my HUMBLE opinion" ... i.e., if this seems arrogant, >it is unintended.) >As usual, Ed, you give us a good and interesting read, which sets me to >thinking of various things. >ssssssssnnn >At 10:45 AM 1/6/2006 -0500, Ed Foote wrote: >>David writes: >> >><< I think those who use an ETD tune unisons without it because it's faster.<< >> >> Damn right. Consistant unisons might sound alike, but upon closer >>measurement, we find the three strings all over the place on certain >>notes. This is >>the "Weinreich" effect. Simply stopping all strings to the SAT will leave a >>very inconsistant bunch of notes,(at a recording/concert level of >>examination). >> I usually let the SAT tune the outer strings of a trichord, then use my >>ear to settle all the phase requirements as I drop the middle string into the >>mix. It lets the organic quality of my judgement have the final say in the >>fastest time possible. Some notes, I ignore the machine and place >>everything by >>ear, since the box will occasionally get confused. >> >> >>Though tuning unisons in the bass can sometimes be problematic with an >> ETD, >><< >> >> I agree, aural unisons in the bass are faster because you are going >>to have to aurally check wherever the machine puts the notes, anyway! >> >> >> >>And for the very high treble, an ETD for tuning unisons can be quite >>useful. >> >> >>Becomes more true every year... >> >> >> >>Ed Foote RPT >_______________________________________________ >pianotech list info: https://www.moypiano.com/resources/#archives
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