graphman is back - re multiple partial readout EDT

[Richard Brekne]

Hi Ron K... interesting stuff isnt this.. I have been doing this kinda thing for
some time now.. pumping the data into  Excel and graphing out the results in a
couple different fashions. Started this kinda thing right after I started
getting all kinds of good advice from Jim Coleman. You can learn lots of really
interesting things about your tunings, and tunings in general with this kind of
information. Its great stuff for training your ear to listen in ways you perhaps
havent done before, or getting better at hearing things you are already aware
of. Its one of the prime reasons I keep on about multipartial displays in ETD's,
and the direct reference mode for useing them. Using an ETD in this fashion is
not quite as quick as the tuning curve based way of doing things, but the other
hand the purpose behind useing an ETD in this fashion doesnt really directly
relate to speed in tuning. You can certainly tune a piano in this fashion and it
wont slow you down very much. I can run through a direct reference tuning with
tune lab now in about an hour and 10 minutes. This would be shorter if I didnt
have to manually do so much zeroing the display for each new referenced note. I
look very much forward to seeing the behaviour of several partials at the same
time, equating that visual information with the aural.



Ron Koval wrote:

> Hi everyone
>
> I got to thinking with the recent questions about multi-display EDTs.  I
> went to a Baldwin upright that was close by and with pianalizer in RCT,
> wrote down the the first 5 partials starting at A3 and progressing up to G4.
>   To use the graph, you've got to play dot-to-dot with me.  Print it out,
> connect all the 1's in order, next the 2's and so on.  Granted, the tuning
> is not really smooth, but what I think is interesting is how NON-parallel
> the lines are.  From note-to-note the inharmonicity changes.
>
> Granted, I didn't make a REIU, (repeatable energy impact utensil), nor did I
> have a flat mic set up on my laptop, but check it out! The scale runs from
> -9 cents to 9 cents.  The numbers are the location for each of the 5
> partials for the listed note (F# and G, 3rd, 4th partials are off the
> scale.)
>
> G  |                           |       5  1          2
> F# |                           |    5       12
> F  |                           |    5       21            3
> E  |                          5|        2 1         3     4
> D# |                       5   |       12            3   4
> D  |                  5        |1 2             3   4
> C# |                5          |1  2             34
> C  |         5             2   |     1  3  4
> B  |           5           2   | 1         3 4
> A# |       5          2  1     |      3  4
> A3 | 5             1 2         |3   4
>     -------------------------------------------------------
>    -9  8  7  6  5  4  3  2  1  0  1  2  3  4  5  6  7  8  9
>
> I think that by looking at this information, it is possible to make a smooth
> curve with one partial, and run into problems with the other partials.  It
> would be nice to know, like on D above, that the 3rd and 4th partials are
> going in different directions.
>
> Yeah, our ears can probably alert us to these problem notes just as quick,
> but I'm graphman, so I couldn't resist.
>
> I also got to wondering about different FAC numbers due to different
> humidity.  Since the school is at 24% now, I think I'll try and take
> repeatable pianalyzer readings of a few notes as the humidity rises over the
> next few months.  What will change?  Tune in during the summer, I'll post
> the results then.
>
> enjoy your weekend
>
> Ron Koval
> Chicagoland
>
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--
Richard Brekne
RPT, N.P.T.F.
Bergen, Norway
mailto:Richard.Brekne@grieg.uib.no