setting pitch with a fork

[Isaac OLEG]

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Hello Quentin,

Yes, I tried the leather covered tool, I find it comfortable but it is also
noisy and generate partials if inserted wrongly.It seem to disturb more the
yet tuned notes than the Papp mute , and change too much the attack of the
tone for my liking also.

The pickle picker works fine enough, for me, because what one have to listen
to is the energy of the unison, not pitches.

Use the same approach to tune octaves (energy) and you will avoid extra high
treble, the larger energy in the high treble is of course in the
fundamental. I was instructed to tune the treble as high I want , but
assuming any octave "works" (guess you see what I mean). Playing the 2 notes
together help to focus on minimal stretch, while playing the highest note a
little later tend to push the stretch way up.

Another test is playing a long arpeggio from medium to the high treble. If
the high treble seem well in tune then chances are the tuning is too high .
High treble may fell to the edge of being too low if one want to benefit of
the added resonance the high treble gives at lower octaves.

Yesterday, for fun I began to tune unisons of a vertical Yamaha U3 without a
mute (and without opening the piano).

It may be tiring for the ear probably, but I obtained absolutely perfect,
and even very good sounding unisons in all the medium of of the piano (I
stopped because the studio was rented, but I had "tuned" 2/3 of the piano in
env 5 -6 minutes ! Talk of an application of the "unison first approach !)

I have done the same in the treble and extra treble  for another instrument
and it works fine , because you are not in research of "justness"   If one
learn to "listen" or appreciate the strength and power of the unison, the
good moment is easily recognized, without listening to partials or pitches,
only to the tone material available.

Sexy explanation if you prefer, but it may be interesting to try. For
instance tune with earplugs, with the radio on, or while focusing on your
holydays at the beach!

As building tone does not mean you are finding the tone so pleasing, in too
many cases the tone of the instrument can only be made the less bad possible
in fact, so what counts is the playability of the thing in the end.
Listening too much and expecting the creation of a nice tone every time can
be misleading, and very tiring.

Once the basic work have been done it begin to be easier to search for
harshness or problems, pick them up and even  the tone, playing little
scales and searching for the string pair responsible of  the problem.

These last manipulations rarely change the setting of the pin (mostly the
setting of the string) so they are fast to realize.

I also noticed that the aliquot back scales seem to be ringing more clearly
when the unisons are to me optimum.

Dealing with energy (hence regulating attack quality ) is the only way to
even the break(s)

This way of listening is also helpful to appreciate regulation when it comes
to it -  checking the landing (aftertouch) prior to tune is helping us a lot
also, we need a good tactile feedback and control on the hammer to tune, if
the key bottom even slightly before the tone is produced, no way to control
the thing (one of the problems of too soft punching that compress during
letoff if one want to keep aftertouch small).

I'll try to talk about differences in tuning learning another time, seem a
vast subject, difficult to express in a few lines.


Best wishes

Isaac









-----Message d'origine-----
De : pianotech-bounces@ptg.org [mailto:pianotech-bounces@ptg.org]De la part
de Quentin Codevelle
Envoyé : vendredi 20 août 2004 22:47
À : pianotech
Objet : setting pitch with a fork


Exactly, cher ami !!

It's a pickle Picker !!!!
Did you try the wooden mute with the skin stripe on it?

Quentin

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