Strange call, melodic vs. harmonic

[Carl Teplitski]

Interesting observation, re. comparing higher octave to lower
by playing lower first, thus tuning sharp, as opposed to playing
oct.s together. Heard this from a highly skilled tuner in our area
who is now 89 yrs. old, and not tuning anymore. What say you
about a similar occurrence in the bass. Or does it not apply?

Carl






Nichols wrote:

> At 06:02 PM 3/1/01 -0500, you wrote:
> >Ron,
> >    While I don't disagree with what you mention here I think the
> >phenomenon is simpler than that in many cases. I found that even early on
> >in my aural tuning career, (I just started using an ETD 3 yrs ago), I
> >tuned noticeably sharp if I tuned by playing the octaves in the high
> >treble starting with the lower note followed by the higher note rather
> >than simultaneously. I've found that tuning that way as opposed to
> >simultaneous sounding of the two notes caused me to stretch the notes
> >higher. When I sounded the notes together I was able to pick up the beats
> >easier and thus stretched them less. I think that perhaps this is more in
> >line with what may be happening. Older tuners seemingly can't register
> >and react to the decay in a quick enough fashion to hear what's happening
> >so we/they overcompensate so as to not have a dead sounding high treble.
> >Any Thoughts?
> >
> >Greg Newell
>
> Thoughts, Greg? (had one once, but....) Actually, there is one thought,
> that surfaces every once in a while, (like worms out of a hot cheese log)
> re: melodic vs harmonic intervals in the high treble......
>   With the pitch change between attack, sustain, and decay, why isn't the
> higher note tuned flat (as opposed to sharper) when matched to the
> melodically played lower note during its' decay phase?
>
> Guy