"Where's the Beat?"

[Tony Caught]

Hi Richard,

snippety snip.

> That being said.. I found it interesting to read his declaration that
matching
> partials such that one has either a 2:1 or a 6:3 octave type, results in
an
> octave  with a "slight natural beat on the flat side" and that tuning
octaves
> in which the natural beat is eliminated when the unisons are tuned will be
> "wider then the first seven of Reyburn's so called octave stretches".
These
> followed by the statement that "Jim Coleman's Pure 5ths temperament will
result
> in a natural octave bead on the sharp side."

My 'learning' of tuning pianos is a little different from many other more
fortunate persons and I truely lack the ability to express exactly what I
mean cos I am dumb but, this natural beat is the (to me) the sound or
feeling you get when two notes blend in the best.  I think I am trying to
say 'when all audible harmonics are at their smoothest'.

With me, this results (on a good piano) being maybe all fifth's are a  1/4
beat per sec on the flat side and the fourth's are about 3/4 beat per sec.
>
> Notice that these statements seem to apply equally to all ranges of the
> piano... with no real difference...ie a 6:3 octave in the high treble is
still
> going to yeild a "narrow" natural beat octave.  Aside from that kind of
> thing...these statements open a door that might allow us to look closer at
the
> possiblity that there is some phenomena going on that has been overlooked
so
> far by those from the ETD world.
>
> If its a hearable beat like thing we are looking for... and in the range
Virgil
> states... it should be measurable in some sense also.
>
You will have noticed also that when tuning the bass in same piano and you
play a fifth, say C2, G2 whilst tuning C1 that you are tuning to a beatless
sound on octave and on octave fifth at the same time.

Next one is that after you tune a piano, check it and touch up (one string
at a time, others in note muted) the tuning with the sustain pedal on. For
some reason, possibley the interaction of all harmonics being induced, a
beat is audable which is the composite of all harmonic beats for that note.

I would like to see a template written for a ETD that takes into
consideration the tuning of octaves based on the octave and the octave and a
fifth with the tuned note set at that point equally between the two beats.
Does that make sense ?.


> --
> Richard Brekne
> RPT, N.P.T.F.
> Bergen, Norway
> mailto:Richard.Brekne@grieg.uib.no
>
>
Regards

Tony Caught ICPTG
Australia
caute@optusnet.com.au