"John M. Formsma" wrote: > <<...that is the piano actually sounding better when all the > unisons are not quite 100% on.>> > > We had some discussion of this some time ago on the list. It does add to the > presence (and color) of the piano if the unisons "bloom" as opposed to being > still and lifeless. I think really that it is not a question of unisons being still and lifeless... there is always some of this "bloom" effect... the question is more how much is best... and again when we are talking about such slight tolerances then this is more a matter of taste then a matter of right and wrong. The dead on ablolutely no beats, no bloom, no nothing unison doesnt really exist. > > The experiment could go something like this, using the same piano or > different ones: 1) Have a totally beatless, dead-on unison. Compare that > with unisons that have very, very slight "bloom" and larger "bloom," and > even 1/2 bps unisons. I think 0.5 bps is way out of the "bloom" range... at least as I experience it. We are talking somewhere in the area where all talk of bps is no longer meaningfull, we are talking about a seperate acoustical property me thinks. > Then you could apply that same theory to octaves. PlayThen you could > experiment with octave widths. > Now that you can... and it does become interesting what you can do when you start to get past thinking coincident partials and bps... I personally am more and more convinced this is at the heart of Virgils thinking. > > If I had access to such a group of pianists, I would love to try that > experiment to see what they like best. Have any of you CAUTs tried something > like this? > > John M. Formsma > Blue Mountain, MS > PTG Associate, Memphis Chapter > > mailto:jformsma@dixie-net.com -- Richard Brekne RPT, N.P.T.F. Bergen, Norway mailto:rbrekne@broadpark.no
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