<div dir="ltr">These tunings were done with Bernhard Stopper's PureTuner VTD; it runs on PocketPC.<div><br></div><div>You need to know just a bit about the software before you can understand why the good results are so interesting. Stopper's tunings are based theoretically on a pure twelfth divided into 19 equal half-steps. This VTD takes no measurements from the piano being tuned in order to calculate a tuning; one just boots up the program, determines a pitch level for the tuning, and starts tuning.</div>
<div><br></div><div>Stopper claims to have a new way for a VTD to deal with inharmonicity that is automatic. He says the VTD display readings are based neither on single-partials nor multi-partials, but rather are based upon a new approach.</div>
<div><br></div><div>Stopper claims that the results are consistent and superior. He claims that that although the tunings are rather wide, there is an overall, synchronous effect that gives a clean, beatless effect to chords. He claims the software will deliver a best fit tuning for any level of inharmonicity.</div>
<div><br></div><div>I have been using the software since June and I am finding that the claims all appear to be true. I offer the recordings of Steinway D and a Bosendorfer Imperial tuned together with Stopper's software as evidence.</div>
<div><br></div><div>I admit to some discomfort because Stopper has stated his intention to withhold most explanations of how this all works.</div><div><br></div><div>The bottom line, though, is that the tunings sound good. Good enough for my workplace which is a demanding university environment.</div>
<div><br></div><div><br></div><div>Kent</div><div><br></div><div><br></div><div><br><div><br><div class="gmail_quote">On Sat, Sep 27, 2008 at 7:37 PM, Mark Schecter <span dir="ltr"><<a href="mailto:mark@schecterpiano.com">mark@schecterpiano.com</a>></span> wrote:<br>
<blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex;">Hi, Kent.<br>
<br>
They do sound well-matched, especially when you play the chromatic scale; apart from that, it's hard to judge.<br>
<br>...<br>
<br>
Thanks.<br><font color="#888888">
<br>
-Mark Schecter<br>
</font><br>
PS OK, I'll bite. How did you go about it? Thanks!<div><div></div><div class="Wj3C7c"><br>
<br>
Kent Swafford wrote:<br>
<blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex">
I wanted to see if I could improve my ability to tune a Steinway D and a Bosendorfer Imperial together. The Steinway has relatively high inharmonicity and the Bosendorfer has very, very low inharmonicity. Some of you will be familiar with the problem.<br>
<br>
I have uploaded an audio file to:<br>
<br>
<a href="http://www.kentswafford.com/mp3/d_dorf.mp3" target="_blank">http://www.kentswafford.com/mp3/d_dorf.mp3</a><br>
<br>
The recording attempts to show that each piano is well-tuned with itself and that the pianos also are tuned together. The Steinway plays first and should be on the right. The pianos are side by side. There are a number of bad unisons in the high treble, especially on the Bosendorfer. You are welcome to come try to tune them yourself.<br>
<br>
In the recording you hear:<br>
<br>
Steinway arpeggios<br>
Bosendorfer arpeggios<br>
Bosendorfer chord of nature progression<br>
Steinway chord of nature progression<br>
Chromatic scale played both on both pianos together<br>
<br>
I think the results are good. How I did this may surprise a few...<br>
<br>
Later.<br>
<br>
<br>
Kent Swafford<br>
<br>
<br>
<br>
</blockquote>
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