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<P>Also keep in mind that the tuning is just the first step (and usually subsequent tunings when used in recording and/or performance venues, and if necessary, preceded by regulation, filing, etc.) in acheiving the full potential of the piano. Voicing is usually the last step in giving the piano its optimum tone for beauty, power and dynamics. Even the finest concert grand with the absolute greatest tuning known to man will still not sound great, if the hammers are in bad shape or not properly voiced, and action not regulated well regulated.<BR><BR>Terry Peterson </P></DIV>
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<DIV></DIV>----Original Message Follows----
<DIV></DIV>From: Bec and John <bjsilva001@comcast.net>
<DIV></DIV>Reply-To: Pianotech <pianotech@ptg.org>
<DIV></DIV>To: Pianotech <pianotech@ptg.org>
<DIV></DIV>Subject: Re: Tuning styles with octaves
<DIV></DIV>Date: Fri, 11 Jun 2004 18:33:48 -0400
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<DIV></DIV>Hi Terry,
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<DIV></DIV>That's interesting, thanks for that. The technician I studied with actually didn't go into explanations of such things that I can recall, just said what to listen for and how to tune it.
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<DIV></DIV>I have to say though, much of my tuning inspiration has come from tuners on various recordings. Such as Rubenstein's 1967 recording of Chopin's Nocturnes - fabulous tuning, excellent sound to the recording as well. I have a debate with myself about whether that or the Werner Haas Debussy recordings for Phillips are my favourite.
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<DIV></DIV>- John
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<DIV></DIV>>when the high treble and low bass octaves are tuned "beatless", they
<DIV></DIV>>ARE stretched, albeit not to a great degree; in the extreme treble,
<DIV></DIV>>because the ear often "hears" even slightly stretched octaves as
<DIV></DIV>>"flat", some techs (I know) stretch high C to +75c or more! I don't.
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<DIV></DIV>> Terry Peterson
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