---------------------- multipart/alternative attachment Greetings Issac, I have just completed some experiments on S & S= Model O, all new action parts, restrung well polished temination bars, bridges and board in excellent condition, new bridge pins. Piano was with in 1.5c of pitch through out after 3 tunings. The partial spectrum was within15% on each= string of the unison, checked by PAZ. Objective to tune 12 notes to obtain stable full bloom on every string ( 0.02c). Tune the first 6 note working left to right, the second 6 notes working right to left. The first string was tuned purely to RCT, the second and third aurally, on average I ended up about 0.4c sharp per string, I corrected each string for full bloom, Playing the three strings together the indication showed a full cent sharp. but the unison sounded very tight. An interesting anomily, it appeared the second set of unisons, working= right to left, seemed to be easier to set all three strings. This could be something to do with bridge stiffness, due to the notching of the bridge. ( very= little mass to the left of the left hand string.) I ended up slightly sharp with each string in both directions. Is this a coupling effect, or is it due to the fact that we take the string sharp,= then drop for no beat and the window of acceptable error is a little wider than= we think, we have cretainly trained ourselves to try and not pass the cross= over point. I never thought that I would have the patience to spend close to 8hrs on one octave. At the end of it just more confusion. Regards Roger At 02:17 PM 15/11/98 +0100, you wrote:=20 > > Hello everyone,=20 > > When i was looking for information on tuning perception, I've found this= =20 > study on the tuning of trichords in the piano.=20 > > I send it to your interest, as I remeber a thread about it.=20 > > I once had tried to analyse the fresh tuning of a grand D S&S by one of=20 > our best tuners here in Paris, and I've found that on any triplet=20 > checked (with RCT), 2 of the cords were in tune with no more than 0.1 or= =20 > 0.15 cts diff at the 2nd or 4th partial level, BUT a 3rd corde was "out"= =20 > by 0.25 to 0.8 cts, not always the same cord but always one.=20 > When hearing the tuner at work I clearly have the feeling he plays to=20 > the 2nd or 4th partial resonnance when tuning unissons (no strip miuting= =20 > by there).=20 > It was in a large concert hall with a good soun return. I feel the tuner= =20 > use the partial modulation to obtain a "projection " of the sond in the=20 > place. I may admit I have tried to do that and have found difficult to=20 > 3HEAR" the sond in front of the piano as if I where 5 meters farther.=20 > I will assit on a cooloque on the perception of the tuning of the pianos= =20 > in a fe you.=20 > By the way Del, ther will be something on the pros and cons about old or= =20 > new wood for the resatauration of ancient pianos. Will forward it too if= =20 > avaible.=20 > Following is the file (english version)=20 > > Best regards to all of you .=20 > > Isaac OLEG=20 > > Tuner/ technician.=20 > Paris - France=20 > > Serveur =A9 IRCAM - CENTRE GEORGES-POMPIDOU 1996, 1997, 1998. Tous droits > r=E9serv=E9s pour tous pays. All rights reserved.=20 > > > Tuning of Trichords in the Piano > > > > > Eric Marandas, Ren=E9 Causs=E9 (IRCAM), Vincent Gibiat (LOA/ESPCI, UP7 URA CNRS)=20 > > ISMA 95, Dourdan 1995=20 > > ---------- > (<index.htm>Version Fran=E7aise) > > > Abstract > > > > Are the two or three strings struck by the same hammer in a piano tuned in > perfect unison ? We used an experimental procedure for precise frequency > measurements of a single vibrating string (the others being damped), using > zero-crossings of the sound pressure signal (filtering out all but the > fundamental). We determined the "mistuning" between the three strings of > unison groups, from F1 to C5. The average "mistuning" was approximately= 0.5 > cents. This value is three times lower than the frequency resolution of= the > ear given by works on psychoacoustics. > > La version =E9lectronique de ce texte n'est disponible dans son= int=E9gralit=E9 > qu'=E0 partir des postes de consultation de l'Ircam, pour des raisons de > copyright. > > Les rapports de recherche et les revues musicales de l'Ircam (ainsi que= des > disques, des brochures d'information...) peuvent =EAtre command=E9s aupr= =E8s du > <mailto:comm@ircam.fr>service de Communication de l'Ircam (t=E9l: 01 44 78= 48 > 98).=20 > > The full online version of this text is available only from within IRCAM, > for copyright reasons. > > The Technical Reports, all the IRCAM periodicals as well as other > publications > (recordings, brochures, etc.) can be ordered from the IRCAM > <mailto:comm@ircam.fr>PR services > (phone: +33 (0) 1 44 78 48 98).=20 > > ____________________________ > </index-e.htm>Server =A9 IRCAM-CGP, 1996, 1997, 1998 - file updated on > 10/14/1998 at 18h13m12s. To write: </messages/mail.htm>MESSAGE=20 Roger Jolly Baldwin Yamaha Piano Centre Saskatoon and Regina Saskatchewan, Canada. 306-665-0213 Fax 652-0505=20 ---------------------- multipart/alternative attachment An HTML attachment was scrubbed... URL: https://www.moypiano.com/ptg/pianotech.php/attachments/b3/bd/c7/e8/attachment.htm ---------------------- multipart/alternative attachment--
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