Ric said: "I did want to bring the overall levels down quite a bit... especially in the treble where it was really high. But I'm looking at the bass tenor transition and juggling inharmonicity against Z and keeping an eye on both Tension and breaking % T. A nice Z curve with the kind of T and %bT seems easy to get but it means a bit of a jump in inharmonicity at the break. At note 23 (first tenor) Inharmonicity starts off droping a bit for a couple notes (24-26) and then rises nice and evenly... but at 22 it drops a good chunck from 23 and rises evenly as one progresses down the scale. So...whats to prefer ?... a nice even inharmonicity curve at the break or a nice Z curve holding T and %T relatively steady ?" Cheers Ric, That is exactly what I was referring to in my last post. I prefer to get the Z as smooth as possible, while monitoring the inharmonicity/tension, etc. I've found that most voicing problems go away with this approach. Early in my scaling endeavors, I got hung up on the Inharmonicity thing and had a few "rebuilds" that didn't come out as expected, because of it. Since I have put more emphasis on the Z factor, most of those problems have gone away. All of it is a major compromise, but the emphasis on Z is the lesser of the ever present evils, IMO. BTW, what mass coefficient number are you using for Pure Sound Wire? If that is not plugged into the math, then you'll really not have a clear picture of what that stuff does in real time. At present, I have not used Pure Sound. It sounds like it might be an answer for some of my "relics" that I care for, but until I can get the proper mass coefficient, I have no way of fortelling the results of using it. Regards, Joe Garrett, R.P.T. Captain of the Tool Police Squares R I -------------- next part -------------- An HTML attachment was scrubbed... URL: https://www.moypiano.com/ptg/pianotech.php/attachments/20070130/00697e90/attachment.html
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