Tuning Tests at the Yamah Academy

[Marcel Carey]

Richard,

Are you sure that you only had to do pitch raises and lowering of 2
cents?
When I was in the Academy 4 years ago, the first tuning exam was 436
to 440, then we had a few from 437 to 440. That made quite a pitch
raise. Have they changed the rules???

For me, 2 cents makes more sense.

Marcel Carey, RPT
Sherbrooke, QC

> -----Original Message-----
> From: pianotech-bounces@ptg.org [mailto:pianotech-bounces@ptg.org]On
> Behalf Of Richard Brekne
> Sent: August 2, 2004 6:56 PM
> To: oleg-i@noos.fr; Pianotech
> Subject: Re: Tuning Tests at the Yamah Academy
>
>
> Isaac OLEG wrote:
>
> >Hello Richard,
> >
> >Great description, I noticed yet that kind of minimal strech (or no
> >stretch) used by Yamaha concert tuners.
> >
> >And that is what the VT100 in normal mode tend for.
> >
> >
> We were tuning C2 instruments, and the PT100 had only a C3
> curve built
> in.  Evidently they thought it was close enough for jazz as
> it were.
> Like I said tho.. the graphs part seemed more as an aid to seeing
> general tuning tendencies then anything else.
>
> >Did you relate that to a resasearch to phase effect in
> octave tuning
> >(like in unison tuning ?)
> >
> >
>
> Actually, tho I did very well indeed... I and no one else
> there had much
> time to do anything else then to finish our assigned tasks
> in as short a
> time span as is possible.  In order to score high, you
> needed every bit
> of the two hours alloted to raise the pitch 2 cents, get it
> stable and
> fine tune.  I know some may scoff at that... but I would
> just say to
> them... go and try and please these guys in an hours time.
> They stop
> you after 2 hours... but they dont look in on you to see if you've
> finished early...so they wont be biased. Its just that they
> require a
> very precisely defined tuning and it takes time to execute it well.
>
> >I had a little training lately myself, (concert prep)  and
> we worked a
> >lot the tuning of the attack of tone, the energy level, projection,
> >and the "elasticity of tone".
> >
> >
> Please describe your experience for us then. :)
>
> >I actually can't absolutely not listen to any partial while tuning
> >unisson, nor octaves for that matter.
> >
> >
> Me neither... I think its both a blessing and a bane at the
> same time.
> Sometimes it would be nice to be able to better aurally
> zero in on just
> one coincident pair then I can, other times its very nice
> that I hear
> the conglomerate so well as I do.  Ying and Yang as always.
>
> >Seem to me that the natural "pitch lock" that we use while tuning
> >unisons, protect us from any partial deviance, or beat for that
> >matter.
> >
> >
>
> Not sure I understand what you mean by that.  Want to try
> and rephrase
> or explain more ?
>
> >Just "building tone", that's all (but this does not avoid justness
> >problems indeed)
> >
> >Best Regards
> >
> >Isaac OLEG
> >
> >
> >
> Cheers
> RicB
>
>
>
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