<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD>
<META http-equiv=Content-Type content="text/html; =
charset=us-ascii">
<META content="MSHTML 6.00.2600.0" name=GENERATOR></HEAD>
<BODY>
<DIV><SPAN class=708300322-01112002><FONT face=Arial color=#0000ff =
size=2>The
question is strangely expressed, but I guess the teacher don't like the =
tone of
the basses.</FONT></SPAN></DIV>
<DIV><SPAN class=708300322-01112002><FONT face=Arial color=#0000ff =
size=2></FONT></SPAN> </DIV>
<DIV><SPAN class=708300322-01112002><FONT face=Arial color=#0000ff =
size=2>We use
many artifacts (each its own) on bass tuning to give the impression of =
more full
tone than it is really.</FONT></SPAN></DIV>
<DIV><SPAN class=708300322-01112002><FONT face=Arial color=#0000ff =
size=2></FONT></SPAN> </DIV>
<DIV><SPAN class=708300322-01112002><FONT face=Arial color=#0000ff =
size=2>Beside
that, non responsive hammer, keybed unseated, bad regulation, will =
always give
an awful weak tone in the basses. </FONT></SPAN></DIV>
<DIV><SPAN class=708300322-01112002><FONT face=Arial color=#0000ff =
size=2></FONT></SPAN> </DIV>
<DIV><SPAN class=708300322-01112002><FONT face=Arial color=#0000ff =
size=2>I
can't remember where I've seen the demonstration of that , but 1st =
partial of
the big bass strings is produced (or reinforced on large grand's may be) =
by
"phantom vibes" that appears created by "beats between the highest =
partials
, the same process than the phantom octave sounding one octave below on =
organ or
a good grand when playing a fifth in the octave 2. </FONT></SPAN></DIV>
<DIV><SPAN class=708300322-01112002><FONT face=Arial color=#0000ff =
size=2></FONT></SPAN> </DIV>
<DIV><SPAN class=708300322-01112002><FONT face=Arial color=#0000ff =
size=2>It may
well be helped by an optimum string tension equalization while tuning, =
my guess
being that when you tune and you hear that very precise spot where the =
sound is
the stronger and the longer at the same time, that mean the tension on =
the 2
sides of the bridge is evened, and the bridge is then more responsive. =
(may be
something about the other string's segment too ?)</FONT></SPAN></DIV>
<DIV><SPAN class=708300322-01112002><FONT face=Arial color=#0000ff =
size=2></FONT></SPAN> </DIV>
<DIV><SPAN class=708300322-01112002><FONT face=Arial color=#0000ff =
size=2>No
real data to prove the point, but I use tone to know when the tension =
are
equalized, and it is even not necessary to hardly settle the pin if
so.</FONT></SPAN></DIV>
<DIV><SPAN class=708300322-01112002><FONT face=Arial color=#0000ff =
size=2></FONT></SPAN> </DIV>
<DIV><SPAN class=708300322-01112002><FONT face=Arial color=#0000ff =
size=2>Anyway
not 2 tuners tune the same tone, even on big unichords the tone vary =
from one to
another.</FONT></SPAN></DIV>
<DIV><SPAN class=708300322-01112002><FONT face=Arial color=#0000ff =
size=2></FONT></SPAN> </DIV>
<DIV><SPAN class=708300322-01112002><FONT face=Arial color=#0000ff =
size=2>IZaac
OLEG Zoreil</FONT></SPAN></DIV>
<DIV><SPAN class=708300322-01112002><FONT face=Arial color=#0000ff =
size=2></FONT></SPAN> </DIV>
<DIV><SPAN class=708300322-01112002><FONT face=Arial color=#0000ff =
size=2>FRANCE</FONT></SPAN></DIV>
<DIV><SPAN class=708300322-01112002><FONT face=Arial color=#0000ff =
size=2>PARIS
(Nicest town on earth)</FONT></SPAN></DIV>
<DIV><SPAN class=708300322-01112002></SPAN> </DIV>
<DIV><SPAN class=708300322-01112002><FONT face=Arial color=#0000ff =
size=2></FONT></SPAN> </DIV>
<BLOCKQUOTE dir=ltr
style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #0000ff 2px =
solid; MARGIN-RIGHT: 0px">
<DIV class=OutlookMessageHeader dir=ltr align=left><FONT =
face=Tahoma
size=2>-----Message d'origine-----<BR><B>De :</B> =
caut-bounces@ptg.org
[mailto:caut-bounces@ptg.org]<B>De la part de</B> Fred S.
Sturm<BR><B>Envoyé :</B> jeudi 31 octobre 2002 =
23:17<BR><B>À :</B>
College and University Technicians<BR><B>Objet :</B> Re: 1st
partial<BR><BR></FONT></DIV>Wim, <BR> What kind of =
piano are
we talking about? Steinway B or Hamilton? (Or somewhere between). =
Smaller the
instrument, shorter the bass strings, equals much less lower partials =
as part
of the tonal spectrum, regardless of tunings, voicing or whatever =
(though some
scales are better than others). And, BTW, doing what you describe will =
excite
ALL the partials of the upper note. How prominent the first partial of =
the
upper note is will vary. Should at least be present, though. I walked =
next
door to a vacant classroom and did what you describe on a Steinway B, =
and
heard the first partial of the upper note all the way to A0/A1.
<BR> All that said, do your best to humor the guy. I =
doubt
very much he knows what the heck he's talking about (a little =
knowledge is a
dangerous thing - he picked up some notion off a wall somewhere. I =
once spent
considerable time explaining to our bassoon professor why the bass on =
his
piano didn't match his little electronic tuner. All my notes were =
flat. Fancy
that! He had been trying to match his tuner when playing his bassoon - =
first
partials, that is - and even teaching his students the same malarky. =
Like I
said, a _little_ knowledge . . .) <BR>Regards, <BR>Fred Sturm =
<BR>University
of New Mexico
<P>Wimblees@aol.com wrote:
<BLOCKQUOTE TYPE="CITE"><FONT face=Arial><FONT size=-1>One of =
the piano
profs called me into his office and asked if I could tune the 1st =
octave so
that more of the 1st partial can be heard.</FONT></FONT>
<P><FONT face=Arial><FONT size=-1>He played C2 while holding =
down C3, and
the first partial sounded on C3. But when he held down C2, and =
played C1,
the first partial wasn't there. Such was also the case in all the =
notes from
A0 - B1.</FONT></FONT>
<P><FONT face=Arial><FONT size=-1>How can I tune that first =
octave to have
the first partial sound on the octave above?</FONT></FONT>
<P><FONT face=Arial><FONT size=-1>I use a SATIII, using the =
program from
Sanderson.</FONT></FONT>
<P><FONT face=Arial><FONT
size=-1>Wim</FONT></FONT></P></BLOCKQUOTE></BLOCKQUOTE></BODY></HTML>