Hello, With the VT100, (and if the last night was good), I sometime can tune a spinet or same kind without a mute since I am in the 5 the octave - possible in the extreme treble and in the bass too, I use a finger to stop the attack of a string and focus better on the remaining, good exercise to focus on the whole tone too (by opposition to focus on partial matches). Floor tunings for the // bass : finger tuning, listen to the beat rate in the octave with a finger on the left bass string (hello finger marks !), then tune a similar beat rate between the 2 strings, the tune the bass unison. Regards Isaac OLEG Entretien et réparation de pianos. PianoTech 17 rue de Choisy 94400 VITRY sur SEINE FRANCE tel : 033 01 47 18 06 98 fax : 033 01 47 18 06 90 cell: 06 60 42 58 77 > -----Message d'origine----- > De : pianotech-bounces@ptg.org > [mailto:pianotech-bounces@ptg.org]De la > part de tune4u@earthlink.net > Envoyé : mardi 21 janvier 2003 02:40 > À : Pianotech > Objet : Re: Aural vs. electronic again > > > Interesting. I tune a C2-C3 using the same science but > without having to > hear and match a beat rate--if the room is fairly quiet. > > I tune the octave listening to the 6:3 partials (hit the > 19th, octave above > 12th, if needed to get in my ear the pitch I'm listening > for). When I think > it's beatless, hold the octave down quietly, whomp and > release the 19th to > energize the partials in C3 and C3--might even tweek C2 > while listening. If > there is no beat or roll, it's a perfect 6:3 > > If there is a lot of noise in the unison strings and it's > hard to find the > "sweet spot" you can hold the key down and whomp the 12th. > Tune out the > rolls of this overtone and (unless strings are really sick) > it makes, I > think, the cleanest possible unison. > > New topic: I'd like to see someone invent an ETD that could truly > differentiate between two very close tones, i.e., two > strings. This would > help zero in unisons on your Betsy Ross quality bass notes > and on the high > treble of every piano I tune. If it could also make hot > chocolate and toast > bread, we'd have a heck of a piano tunin' tool, eh? > > Alan Barnard > Salem, MO > > > ----- Original Message ----- > From: "Bill Ballard" <yardbird@vermontel.net> > To: "Pianotech" <pianotech@ptg.org> > Sent: Monday, January 20, 2003 7:05 PM > Subject: Re: Aural vs. electronic again > > > > At 11:29 AM -0600 1/20/03, <tune4u@earthlink.net> wrote: > > >What, please is meaning of "unison shimming," Comrade? > > > > It's an aural technique for correcting intervals, using unisons. I > > described it in the PTJ sometime in the mid-90s ('93, '94? I don't > > have the CD-ROM), called "Your Friend the Unison". I recently > > described it to Phil Bondi, who wanted to tune aural > P12ths without > > having to rely on a working sostenuto (or playing one of the notes > > with a big toe). > > > > Essentially this is how it works. You want to tune C2 a 6:3 octave > > from C3. C2 is likely to be a bichord, so, one of its strings is > > muted. Or both strings can be open as long they are frozen dead > > breathless. (You know the old WW II movies: the enemy > soldier holds > > the bayonet to your nostrils for two minutes and observes no > > condensation on its-cold-steel.) You play the octave and > memorize the > > beat rate AT THE 6:3 coincidental partial level, as a > musician would > > a tempo. If you don't know whether the octave is narrow > or wide find > > out now. You then mistune the unison on C2 in the correct > direction, > > duplicating the beat-rate which you just heard. This > mis-tuned string > > will now be a perfect 6:3 octave (depending on the > accuracy of your > > musician's sense of tempo). Tune the other string of C2 > to it and you > > have now corrected the error in the original 6:3 octave. > > > > The unison got shimmed, right? > > > > At 3:57 PM -0800 1/20/03, Susan Kline wrote: > > >Bill? I assume you mean muting the notes individually > with wedges? > > > > Are you referring simply to my choice of mute (individual wedge or > > strip), or possibly to whether I'm working with mutes on a note or > > with all strings open? Is the above a good description? > Does anyone > > remember a game played by astronauts (first appearing in a sci-fi > > story 20 years ago) in which a conversation moves forward > solely by > > questions? (The first person to make a statement loses.) > > > > There's actually no limit to the number of situation in which the > > basic principle can be applied. It's great for unison tuning two > > pianos, for instance. But it's definitely an aural technique, > > although I suspect there are analogous electronic routines. As a > > by-product, it shapes your unisons right up, as any > impurities in the > > unisons will cloud the required measurement of beat rates. > > > > Bill Ballard RPT > > NH Chapter, P.T.G. > > > > "I go, two plus like, three is pretty much totally five. Whatever" > > ...........The new math > > +++++++++++++++++++++ > > _______________________________________________ > > pianotech list info: https://www.moypiano.com/resources/#archives > > _______________________________________________ > pianotech list info: https://www.moypiano.com/resources/#archives >
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