Tuning with a fork [fork partials]

[Joe And Penny Goss]

Thanks, Robert. My AccuFork is quite old. I wonder if anyone has a newish
one
who could check its output?
Hi Bob,
To check your accu fork open the battery compartment and look for a little
white plastic slot ( 1/8" at the most ). This is the tone generator pitch
adjustment button. Turn the unit on, and to raise the pitch turn the knob
clock wise to raise the pitch and the other way to lower. Useing an ETD
makes it easy to set a very fine adjustment to the pitch.
It is recommended that you check an accu fork, and set it if need be, just
prior to using it to take the PTG exam, as it may drift in its pitch due to
the battery having losing some of its charge
Joe Goss RPT
Mother Goose Tools
imatunr@srvinet.com
www.mothergoosetools.com
----- Original Message ----- 
From: <BobDavis88@aol.com>
To: <pianotech@ptg.org>
Sent: Monday, August 23, 2004 11:21 AM
Subject: Re: Tuning with a fork [fork partials]


> In a message dated 8/23/2004 4:46:49 AM Pacific Standard Time,
> robert.scott@tunelab-world.com writes:
> Cy is right.  TuneLab generates sine waves when in the sound generation
> mode.
> Thanks, Robert. My AccuFork is quite old. I wonder if anyone has a newish
one
> who could check its output?
>
> When I wrote my suggestion to use an AccuFork, I was thinking that Cy was
a
> strictly aural tuner, in which case he would want something pretty
portable. I
> favor a hybrid aural-electronic tuning method anyway, but if you're
packin'
> hardware, there's no point in setting an A aurally except for practice.
>
> I think aural tuners profit by knowing all the ways to measure intervals
> visually, and that predominantly electronic tuners benefit by knowing, and
being
> able to produce, the aural relationships. For instance, why to choose a
> particular octave size and double octave size for a temperament area.
>
> Some tuners say, "I can't be bothered by all that 6:3 stuffl; I just tune
the
> octave until it sounds right." Sounding right is part of it, but there may
be
> several interval widths that may need to be compromised in order to get
the
> best overall sound, and knowing one's way around the coincident partials
helps
> with understanding those compromises.
>
> Bob Davis
>
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