Verituner

[Richard Brekne]

antares wrote:

> There are a few points that I miss in either Mr Bremmers comment or  yours:

Hmm... well I was sort of replying to Bills point about tuning aurally sorta
isolated fromt the rest of the discussion....so I didnt really address anything
else said by anyone else. That being said.... I also would be the first to
encourage the use of ETD's actively in our work. At least until one reaches the
point where one simply doesnt need them anymore.

Bill and I, (and others) have conversed a bit about some of the things we hear
when tuning that most of us dont really use so much. I mean why should we...we
have been taught to listen to one partial at a time. We strive to block out
every sound except the one particular beat rate of that one particular
coincident pair...everything else is in the way. While we certainly need to be
able to do this, I have come to believe that that approach will only take us so
far...ok pretty darn far... but only so far still. One can create a nice tuning
with evenly dropping beat rates for decending thirds..etc etc... but perhaps
there is something more that we can do ??

Bill talks about "colouring" octaves and Virgil talks about "beatless octaves".
These are excellent tuners we are talking about, and I try figure out what sense
there is in their way of expressing themselves... Tuning with ETD's also
immediatly showed me some effects that can be created depending on how the
totality of the tuning is executed. I remember my first reactions were on the
lines of a "presence" the piano seemed to have. Especially noticable in the
tenor and treble to me. So I try and listen...to see if my ears can "discover"
how to do this kind of thing... and I start noticing things. But this involves
listening in a way that has less to do with singling out  coincident pairs, and
more to do with how things sound in an holistic way. Coincident pairs gets you
close...but you can go further...and thats where it gets fun.

The whole thing has opened up a new world of tuning for me...perhaps a partial
return to an older way of listening to an instrument during the tuning process
as well. You see, I dont think many of us are ear tuners anymore... we are beat
counters. There is a big difference. I think the integration of both approaches
can give exactly the results and more that the ETD impresses us with now. And I
think that if the Verituner is indeed a step further in ETD's.... an improvement
as it twere... its because it does some of these things... it listens to all
partials of all tones and attempts to create a balance between them. Thats seems
to jive well with your report of VT being able to create a better solution on
the second time around....And all that just tells me to listen more
closely...that there is a lot we haven discovered yet.... even in relation to
just plain tuning. Intonation...what does that word really mean ?



--
Richard Brekne
RPT, N.P.T.F.
Bergen, Norway
mailto:rbrekne@broadpark.no