<html><body style="word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space; "> <br><div><div>On Jul 17, 2008, at 7:07 PM, Jonathan Golding wrote:</div><blockquote type="cite"><div dir="ltr">When tuning the last octave of the piano's bass section I would like to know people's opinions on how they get the best results. For me, I find this a tricky area to get consistently good results. Some bass strings sound dead whereas others are harsh sounding and some have lots of overtones. As well, each piano seems to have a different amount of stretch to take into consideration. When tuning the last octave I usually check using the Maj 17th against the Maj 10th for approximate equal beating. When I play the octaves together harmonically I find that this leaves the last octave sounding too high to my ear. Any comments or suggestions? Any single partial for this area which could be helpful?<br></div></blockquote><br></div><div>My method of dealing with the bottom octave is to make sure to tune my octaves going down from the temperament properly. To do this, I listen very, very intently to the <b>fourths</b> and <b>fifths</b>, using the note being tuned as the<b> tonic</b>, and sounding the fourth and fifth above. The fifths should be <b>almost pure</b>---slightly compressed; no discernible beat: just a very slow, slow swell.</div><div><br></div><div>The fourths should be slowly but<b> discernibly</b> rolling (1-2 bps). You may have to make <b>slight</b> compromises---faster fifths, slower fourths---at the end of the long bridge---the last notes before the bass break, usually plain wire notes---but this is an incredibly precise way to get the octaves stretched custom to the piano you're tuning. </div><div><br></div><div>I listen to fourths and fifths all the way down to the last half-octave, then double and triple octaves. Musicians play in double octaves in the left hand all the time, so that's how I listen when I tune.</div><div><br></div><div>When done right, the octaves sound incredibly deep and full, <b>almost</b> but <b>not </b>flat. Deep. As soon as double octaves are available, I use them as a precision check. Then triple octaves when they become available; the octaves should sound beatless and full: <b>still</b>. </div><div><br></div><div>You have to tune musically; that's the whole point: to please musicians. Those people with huge ears.</div><div><br></div><div>Hope this helps. Follow the fourths, Luke. Trust your body as a feedback loop.</div><div><br></div><div>David A.</div></body></html>