Honky Tonk sound

[Stephen Airy]

I'd like to try the honky-tonk unisons on a 100 or 200-cent-flat piano 
sometime.  I got a 1982 recording of a couple songs that have a piano like 
that.

At 07:19 AM 11/24/00 -0500, you wrote:
>Stephen,
>
>My hunch is most technicians have never done it, so you may get limited
>responses.  It does make me curious enough to try it on my own piano,
>just for fun.  I'll probably never get around to it.  If the honky-tonk
>sound is basically what most of us would consider out-of-tune unisons,
>then pick a method for a sound the client likes and go with that.  The
>benefit of detuning to emulate this sound, rather than just having an
>out-of-tune piano (some would call them one and the same), is that you
>can plan for a consistency across the whole keyboard.
>
>Regards, Clyde
>
>Stephen Airy wrote:
>
> > One honky-tonk sound I like is to detune the 2-string
> > unisons about 25-35c, and other unisons at varying
> > degrees (A-440 beating about 3bps for example), beat
> > rates of unisons in top half-octave equaling
> > fundamental frequencies of lowest few notes.  I have a
> > recording of a piano that was about 150c flat and
> > several unisons were out.  I'm curious:  How far out
> > do you guys like to put the unisons to get the
> > honky-tonk sound?  I like about 30c in the bass, 15c
> > in the midrange and treble, with some notes out more
> > than others, but none out more than 50c.
> >
> > --- A440A@AOL.COM wrote:
> > > Wally writes:
> > > >>But my idea was to tune one of the trichords DOWN
> > > >>slightly. No one has taken me up on the offer yet,
> > > so I haven't actually
> > > done it.>
> > >
> > > Greetings,
> > >      As I understand it, there exist particular
> > > relationships between
> > > frequencies  of  impelling force and a resonant
> > > period.
> > >     If the frequency of an applied force is higher
> > > than the resonant period
> > > of an object, the two will be out of phase with one
> > > another.  If the
> > > frequency is lower than the resonant period,  they
> > > will be in phase, though
> > > not necessarily in sync.  I treated the altered
> > > string of the unison as the
> > > impelling force in regards to the two that were
> > > tuned as mathematically close
> > > to one another as possible.  I was hoping to create
> > > a slight cancelling
> > > effect within the unison, the aim of which was to
> > > produce a rather shrill,
> > > percussive sound.  I think it worked, but perhaps
> > > will try the opposite, as
> > > Wally suggested, next time.   Why not, "Out of tune"
> > > is out of tune, no?
> > > Which is why I tuned the tonk slightly sharp.
> > > Regards,
> > > Ed Foote
> >
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