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<DIV><SPAN class=216374518-26052004><FONT face=Arial color=#0000ff =
size=2>Richard,</FONT></SPAN></DIV>
<DIV><SPAN class=216374518-26052004><FONT face=Arial color=#0000ff =
size=2></FONT></SPAN> </DIV>
<DIV><SPAN class=216374518-26052004><FONT face=Arial color=#0000ff =
size=2>Nice
recording, thanks for sharing this. This is effectively a very nice =
piano , I
enjoyed the listening</FONT></SPAN></DIV>
<DIV><SPAN class=216374518-26052004><FONT face=Arial color=#0000ff =
size=2></FONT></SPAN> </DIV>
<DIV><SPAN class=216374518-26052004><FONT face=Arial color=#0000ff =
size=2>I just read your comments on the pure twelve, but my =
opinion
differ slightly.</FONT></SPAN></DIV>
<DIV><SPAN class=216374518-26052004><FONT face=Arial color=#0000ff =
size=2></FONT></SPAN> </DIV>
<DIV><SPAN class=216374518-26052004><FONT face=Arial color=#0000ff =
size=2>Isaac
OLEG</FONT></SPAN></DIV>
<DIV><SPAN class=216374518-26052004><FONT face=Arial color=#0000ff =
size=2></FONT></SPAN> </DIV>
<DIV><SPAN class=216374518-26052004><FONT face=Arial color=#0000ff =
size=2>now
please don't take me wrong but I want to comment on the pure twelve =
tuning
(while I certainly could not notice it if you did not say so, I notice a =
pure
fifths tuning but pure twelve's is slightly less =
expanded)</FONT></SPAN></DIV>
<DIV><SPAN class=216374518-26052004><FONT face=Arial color=#0000ff =
size=2></FONT></SPAN> </DIV>
<DIV><SPAN class=216374518-26052004><FONT face=Arial color=#0000ff =
size=2>Did
you notice the violin like the fourths to be slightly smaller than the =
piano ?
</FONT></SPAN></DIV>
<DIV><SPAN class=216374518-26052004><FONT face=Arial color=#0000ff =
size=2>Since
the beginning of the piece you hear that the violin tuning is less =
stretched
(and hence more warmful) </FONT></SPAN></DIV>
<DIV><SPAN class=216374518-26052004><FONT face=Arial color=#0000ff =
size=2></FONT></SPAN> </DIV>
<DIV><SPAN class=216374518-26052004><FONT face=Arial color=#0000ff =
size=2>I
liked to tune in pure twelve's (I gave a few try, and have find the =
method
pleasing to the tuner) but have find that the tuning is a tad too
"straight" with fifths that seem to be sounding strange from =
tonal
point of view with this method . The 12ths straightness is also =
less
singing than the smoother twelve's we usually tune. In "standard tuning" =
we get
to more than pure twelve's in the bass, often, in fact I like to keep =
the
warmness of the fifths and twelve's that is preserved with standard
method.</FONT></SPAN></DIV>
<DIV><SPAN class=216374518-26052004><FONT face=Arial color=#0000ff =
size=2></FONT></SPAN> </DIV>
<DIV><SPAN class=216374518-26052004><FONT face=Arial color=#0000ff =
size=2>There
is also a large difference in ascending arpeggios between the natural =
justness
of the violin and the stretch of the piano, as the violin seem to play =
just,
seem to me that the added stretch in the high treble is unnecessary (and =
violin
is know to play high in the treble)</FONT></SPAN></DIV>
<DIV><SPAN class=216374518-26052004><FONT face=Arial color=#0000ff =
size=2></FONT></SPAN> </DIV>
<DIV><SPAN class=216374518-26052004><FONT face=Arial color=#0000ff =
size=2>IMHO
Nothing beat the very standard VT tuning when it comes to justness. In =
my
opinion also the pure 12 gives on some pianos a tad too much =
stretch in the
end, but mostly, it depart too much from the "pure octaves" alayamaha =
tuning
method.</FONT></SPAN></DIV>
<DIV><SPAN class=216374518-26052004><FONT face=Arial color=#0000ff =
size=2></FONT></SPAN> </DIV>
<DIV><SPAN class=216374518-26052004><FONT face=Arial color=#0000ff =
size=2>In
fact actually I stick with a very standard tuning pattern from a =
justness point
of view, but I regulate the sharpness with the way the unisons are =
tuned. It is
not rare that I change slightly the kind of unison after hearing the =
pianist
play, as then one can obtain a more or less incisive tone in a very =
short
time.</FONT></SPAN></DIV>
<DIV><SPAN class=216374518-26052004><FONT face=Arial color=#0000ff =
size=2></FONT></SPAN> </DIV>
<DIV><SPAN class=216374518-26052004><FONT face=Arial color=#0000ff =
size=2>I am persuaded that this particular piano would have even =
a warmer
tone with a "no beat in octaves method " as instructed by Yamaha =
- I
guess you have tuned it like this as well is not it ? the only thing to =
be
avoided then is too small octaves, as we are playing at the edge, but =
the other
edge than when we stretch, and a slightly smaller octave is easily
noticed..</FONT></SPAN></DIV>
<DIV><SPAN class=216374518-26052004><FONT face=Arial color=#0000ff =
size=2></FONT></SPAN> </DIV>
<DIV><SPAN class=216374518-26052004></SPAN><SPAN =
class=216374518-26052004><FONT
face=Arial color=#0000ff size=2>I see high stretch tuning as a =
process that may
be done aurally, and may stick with the particular possibilities of the =
room and
the piano, and that they are not well adapted to machine tuning (even =
with the
VT) because it play with the sharpness of the attack, and this can't be =
catched
with the usual EDT, only by ear. Then I have listened to tunings that =
had a high
1.5 to 2 bps in the temperament region octaves and that gives more =
tension and
life than a more policed pure fifth or pure twelve tuning, but they =
are
done sticking with the max sharpness allowed, and contain because of =
that a
few "awful" intervals that where way too large fifths. =
</FONT></SPAN></DIV>
<DIV><SPAN class=216374518-26052004><FONT face=Arial color=#0000ff =
size=2></FONT></SPAN> </DIV>
<DIV><SPAN class=216374518-26052004><FONT face=Arial color=#0000ff =
size=2>I have analyzed the unisons and tuning of the most asked =
tuner from
the Steinway C&A dept in Paris, and have find that he mix very =
precisely
pure cool octaves, nice fifths and sharp unisons, producing that =
lively
coloration that artists seem to like. </FONT></SPAN></DIV>
<DIV><SPAN class=216374518-26052004><FONT face=Arial color=#0000ff =
size=2>When
hearing his tunings I was first under the impression of a very high =
stretch,
while in fact only in the 5 th octave some notes are pushed to their =
limit, but
as the double octave stay calm, in the end a few highest octaves are a =
little
small , he does not process stretching more and more, unless the piano =
is
playing a concerto and the pianist ask for that highly stretched high
treble.</FONT></SPAN></DIV>
<DIV><SPAN class=216374518-26052004><FONT face=Arial color=#0000ff =
size=2></FONT></SPAN> </DIV>
<DIV><SPAN class=216374518-26052004><FONT face=Arial color=#0000ff =
size=2>So in
the end he produce an holistic tuning as well. He was very pleased with =
my VT
tunings BTW, and told me he appreciated them.</FONT></SPAN></DIV>
<DIV><SPAN class=216374518-26052004><FONT face=Arial color=#0000ff =
size=2></FONT></SPAN> </DIV>
<DIV><SPAN class=216374518-26052004><FONT face=Arial color=#0000ff =
size=2>The
big thing I like with the VT is that cumulated effect of the =
reinforcement
of the partials , then I obtain some kind of "tonal material" that is =
adding
strength and sustain to the piano. if I want a sharper tone, I work the =
unisons
toward more saturation, if I want a rounder tone I work towards a more =
round
attack.</FONT></SPAN></DIV>
<DIV><SPAN class=216374518-26052004><FONT face=Arial color=#0000ff =
size=2></FONT></SPAN> </DIV>
<DIV><SPAN class=216374518-26052004><FONT face=Arial color=#0000ff =
size=2>I had
a very good and true comment from a friend a few days ago. it was about =
voicing
(first voicing as well for that matter).</FONT></SPAN></DIV>
<DIV><SPAN class=216374518-26052004><FONT face=Arial color=#0000ff =
size=2></FONT></SPAN> </DIV>
<DIV><SPAN class=216374518-26052004><FONT face=Arial color=#0000ff =
size=2>He say
me that the most important thing for him is to obtain a perfect =
pianissimo, as
the pianissimo is yet showing the quality of the tone at higher levels. =
When
tuning the idea apply as well, at the difference that on many pianos a =
more firm
playing is necessary to find the correct sensation. Once find, one =
can tune
in pianissimo mode (assuming the voicing is coherent) and have the nice =
sounding
fortissimo as well. I have find this comment to be so very
true...</FONT></SPAN></DIV>
<DIV><SPAN class=216374518-26052004><FONT face=Arial color=#0000ff =
size=2></FONT></SPAN> </DIV>
<DIV><SPAN class=216374518-26052004><FONT face=Arial color=#0000ff =
size=2>Best
regards.</FONT></SPAN></DIV>
<DIV><SPAN class=216374518-26052004><FONT face=Arial color=#0000ff =
size=2></FONT></SPAN> </DIV>
<DIV><SPAN class=216374518-26052004><FONT face=Arial color=#0000ff =
size=2>Isaac
OLEG</FONT></SPAN></DIV>
<DIV><SPAN class=216374518-26052004><FONT face=Arial color=#0000ff =
size=2></FONT></SPAN> </DIV>
<DIV><SPAN class=216374518-26052004><FONT face=Arial color=#0000ff =
size=2></FONT></SPAN> </DIV>
<DIV><SPAN class=216374518-26052004><FONT face=Arial color=#0000ff =
size=2></FONT></SPAN> </DIV>
<DIV><SPAN class=216374518-26052004><FONT face=Arial color=#0000ff =
size=2></FONT></SPAN> </DIV>
<DIV><SPAN class=216374518-26052004><FONT face=Arial color=#0000ff =
size=2></FONT></SPAN> </DIV>
<DIV class=OutlookMessageHeader dir=ltr align=left><FONT =
face=Tahoma
size=2>-----Message d'origine-----<BR><B>De :</B> =
pianotech-bounces@ptg.org
[mailto:pianotech-bounces@ptg.org]<B>De la part de</B> Richard
Brekne<BR><B>Envoyé :</B> mercredi 26 mai 2004 =
19:40<BR><B>À :</B>
Newtonburg<BR><B>Objet :</B> For your Listening
Pleasure<BR><BR></FONT></DIV>The following cut is a live recording (very =
low
cost) of the new Yamaha CF III grand with Wurzen hammers at our
University. The voicing is Yamahas own... prepped in Germany =
before
delivery and essentially kept the same by myself and the local Yamaha =
dealer
since delivery in early March.<BR><BR>One of the many violin and <A
href="http://www.pianostemmer.no/music/Track1.mp3">piano sonatas by
Beethoven</A>.<BR><BR>This is a long piece... 8 minutes... so download =
this only
if you have a broadband
connection.<BR><BR>Cheers<BR>RicB<BR><BR><BR></BODY></HTML>