On Mon, Oct 20, 2008 at 9:33 AM, Jeff Deutschle <oaronshoulder at gmail.com>wrote: > John: > > I've thought about what you wrote below, have read similar > statements before, and am not sure what it really means. > > Do you mean the natural stretch beyond the theoretical 1:2 frequency ratio > that is necessary to achieve a chosen octave type? Or do you mean that for a > given scaling, a certain octave type is best? If the latter, how would this > be determined? Maybe you mean something else that I haven't thought of. > I don't consciously listen for coincident partials when setting A3 from A4. I listen for the best overall octave, then check what octave width it is. What usually works best is an A3-A4 octave between a 4:2 and 6:3. However, certain pianos call for that octave to be between 4:2 and 2:1. Having tuned many different types and sizes of pianos, I have a general idea of what will work best before I get started. Obviously, that general idea comes from many trials and errors. :-) And, it's fairly simple to readjust if what is initially tried doesn't work. -- JF > > Btw, I am strictly an aural tuner, but understand inharmonicity. > On Thu, Oct 16, 2008 at 12:31 PM, John Formsma <formsma at gmail.com> wrote: > > <snip> > >> >> What helps most is getting the correct stretch for the piano. If you do >> this, the break becomes less of an issue. (On some pianos, there will always >> be inconsistencies, but that's unchangeable until the scale is changed.) >> It's helpful to start with a temperament that spans two octaves. But >> eventually, I think the more one tunes aurally, the better one can hear what >> will work best even if he is working within one octave for the temperament. >> > <snip> > >> >>> -------------- next part -------------- An HTML attachment was scrubbed... URL: https://www.moypiano.com/ptg/pianotech.php/attachments/20081021/ada13b84/attachment.html
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