Sweet Sound

[Mike Musial]

>My conclusion is probably totally erroneous, so please comment. But here
>is my tentative take on what makes some tunings sound sweet and others
>more bright, or perhaps "aggressive" is a good term:

Hi !

Here is a quick overview of my tuning method (skip this paragraph if you wish)

I use an ETD in "manual mode".  I set the temperament more or less in the
"direct interval" method described in the SAT manual.
http://www.concentric.net/~Fast440/atm/atm.html
Going toward the treble section I tune 4:2 octaves usually stretched
slightly less than the amount that I determined for the temperament octave.
After tuning each note, I test that octave with the usual 4ths 3rds 10ths
5ths. These tests lead me to start narrowing that stretch gradually till
around D5 where there is no stretch. Tuning 4:2 octaves beyond this point
results in 3rds and 10ths beating too fast too soon for me.  It is here that
I switch to 2:1 octaves initially stretched around 1 to 2 cents. (This is
usually how wide the 2:1 is at this point when the 4:2 is pure)  From here,
I initially set the width with the ETD but test the octaves to death tuning
mostly by ear till around C6. Depending on the piano, by this point I have
generally established how wide the 2:1 octave sounds best. It can vary from
0 cents (rarely) to +1.5 cents.  For this (next to last) octave, just
setting the 2:1 stretch this amount almost always seems to give good
results. The top octave is always an adventure to me. Around F7 I start to
"push the envelope"  a bit. Usually the 2:1 octave is stretched 2 to 3 cents
from here up,  but in some rare instances I have stretched it a bit more. My
final decision is based more on how that note sounds as the top note of an
arpeggio than anything else. (Why do I feel like this is my dark secret)  My
method in the bass is the usual smooth change from 4:2 ocatves to 6:3.  If
it is a better piano I use the 10:5 in the low bass starting a little on the
narrow side and then stretching outwards.

This is what I would term my "sweet tuning" I use it in most instances. I
sometimes go bright and aggressive by a wider octave stretch in the top two
octaves if the piano is being played with other instruments in a Jazz/Rock
venue. 

> - High treble tuned 2:1 - I find this is extremely rare in other tuners,
>and I haven't decided why exactly. It seems most tune this area using a
>sense of pitch as much as anything, but I can't get a handle on being
>consistent using this method.

Some concert work I do brings me into contact with pianos that have been
recently tuned by other technicians. I am always surprised by how varied the
top octave stretch can be. Usually it is stretched way beyond my tastes.
Recently I tuned an SD10 for an all Beethoven performance. This piano was
tuned just a few days previous. The top octave was stretched as wide as +20
cents. After wrestling with stabilizing the pitch, I tuned the top
half-octave around +2 cents. Listening to the performance of Beethovens
final piano sonata C minor Opus 111 that evening was one of the most
satisfying moments of my career. There is a LOT of upper treble in this
piece and I was thrilled by the way it sounded with my tuning. :)  I do not
think it could possibly have sounded better.

I am quite satisfied with the results of my tuning and so are my customers.
However, I come upon this big treble stretch often enough that I sometimes
catch myself questioning the validity of my methods. How popular is the "big
stretch"?
I keep thinking back to a few years ago when the term "Picasso Tuner" was
mentioned in a Journal article regarding this top octave stretch. I gather
these are not that rare a breed.

There was a popular song by Madonna that got a lot of airplay last year.
Near the beginning of the song there was a piano arpeggio the last note of
which must have been +30 or 40 cents. It drove me nuts every time I heard
it.  Did anyone else notice this?

One would expect the difference between a 20 cent octave stretch and a 2
cent stretch to be so great as to be perceptible to anyone, one or the other
being rejected immediately as totally unacceptable. I guess this is not the
case with the majority of listeners.  I get my share of "it never sounded
better" comments, but as often as I come upon this treble stretch I must
assume the Picasso types get their share also, just from different people.

comments?    :)

Mike Musial RPT
Reedsville Pa