David Andersen's whole-note tuning

[John Formsma]

Oops...you're right.  That would be the first C octave.  So make that C1 and
C2, and everything else is correct -- hopefully.  Thanks for pointing that
out.

On Dec 1, 2007 12:58 PM, David Ilvedson <ilvey at sbcglobal.net> wrote:

>  John...
>
> C0?   The first C is C1 in my book...?
>
> David Ilvedson, RPT
> Pacifica, CA 94044
>
>  ------------------------------
> Original message
> From: "John Formsma"
> To: "Pianotech List"
> Received: 11/30/2007 7:57:44 PM
> Subject: Re: David Andersen's whole-note tuning
>
>
> On Nov 28, 2007 10:13 AM, David Andersen <david at davidandersenpianos.com>
> wrote:
>
> >
> > On Nov 27, 2007, at 12:40 AM, Cy Shuster wrote:
> >
> > > I've tried this on some 7' pianos recently, and in the bottom
> > > octave or so, all I can hear in fourths is a loud, staccato beat
> > > about 10 cps or more. It's just a machine-gun sound, that I don't
> > > know how to interpret.
> > That's not what to listen for. Sounds like you're still putting it
> > sharp (hence the partial-matching machine gun.) In the bottom,
> > sometimes you have to wait for 4-5-6 seconds before the inharmonic
> > garbage subsides and the slow roll of the 4th peeks through the
> > clouds. In most pianos by the time I'm tuning A1 and below I'm mostly
> > listening to double and triple octaves.
> >
>
> One can also use the double octave and the octave-fifth (inside the double
> octave) all the way down the bass.  Example: when tuning F2, make F2-F4 beat
> the same as F2-C4.  It will be slow beating with each of these.
>
> This divides it up really well.  The octave-fifth beats noticeably if
> you're too narrow.  The double octave beats noticeably if you're too wide.
>
> You can use this in the treble as well.
>
>
> >
> > > Any tips?
> > One more...in the bottom of the piano, tune the note low, and come UP
> > to the "stillpoint." The double octave, on a good piano, should be
> > beatless and pacific.
>
>
> One thing I've learned this year with bass tuning is how the 6:3 and 12:6
> octaves relate.  We train our ears to listen to the 6:3 partials when tuning
> the bass.  As you go lower, particularly in the last octave, the 12:6
> partials become more prominent.  They can trick you into thinking you're
> hearing the 6:3 partials.  It's the same pitch, but an octave higher.
>  Example:  When tuning C0-C1, the 6:3 partials coincide at G3.  The 12:6
> partials coincide at G4.
>
> On a large piano, the 12:6 octave can be just fine.  But it's a little too
> stretched for smaller pianos, IMO.
>
> With "whole-note tuning," I think it's easier to hear.  You don't have to
> pay as much attention to which partials are doing what.  It's more
> simplistic, at least to my ears, once you get used to it.  But it's good to
> have some basic checks.  I mainly use octave-fifths and double/triple
> octaves in either extremity.
>
> --
> JF
>
> www.formsma.blogspot.com
>
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