Trichords tuning

[Roger Jolly]

---------------------- multipart/alternative attachment
Greetings Issac,
                         I have just completed some experiments on S & S=
 Model
O, all new action parts, restrung well polished temination bars, bridges and
board in excellent condition, new bridge pins. Piano  was with in 1.5c of
pitch
through out after 3 tunings. The partial spectrum was within15% on each=
 string
of the unison, checked by PAZ.
  Objective to tune 12 notes to obtain stable full bloom on every string (
0.02c). Tune the first 6 note working left to right, the second 6 notes
working
right to left.
  The first string was tuned purely to RCT, the second and third aurally, on
average I ended up about 0.4c sharp per string, I corrected each string for
full bloom, Playing the three strings together the indication showed a full
cent sharp. but the unison sounded very tight.
  An interesting anomily, it appeared the second set of unisons, working=
 right
to left, seemed to be easier to set all three strings.  This could be
something
to do with bridge stiffness, due to the notching of the bridge. ( very=
 little
mass to the left of the left hand string.)
  I ended up slightly sharp with each string in both directions. Is this a
coupling effect, or is it due to the fact that we take the string sharp,=
 then
drop for no beat and the window of acceptable error is a little wider than=
 we
think,  we have cretainly trained ourselves to try and not pass the cross=
 over
point.
   I never thought that I would have the patience to spend close to 8hrs on
one
octave. At the end of it just more confusion.
Regards Roger





At 02:17 PM 15/11/98 +0100, you wrote:=20
>
> Hello everyone,=20
>
> When i was looking for information on tuning perception, I've found this=
=20
> study on the tuning of trichords in the piano.=20
>
> I send it to your interest, as I remeber a thread about it.=20
>
> I once had tried to analyse the fresh tuning of a grand D S&S by one of=20
> our best tuners here in Paris, and I've found that on any triplet=20
> checked (with RCT), 2 of the cords were in tune with no more than 0.1 or=
=20
> 0.15 cts diff at the 2nd or 4th partial level, BUT a 3rd corde was "out"=
=20
> by 0.25 to 0.8 cts, not always the same cord but always one.=20
> When hearing the tuner at work I clearly have the feeling he plays to=20
> the 2nd or 4th partial resonnance when tuning unissons (no strip miuting=
=20
> by there).=20
> It was in a large concert hall with a good soun return. I feel the tuner=
=20
> use the partial modulation to obtain a "projection " of the sond in the=20
> place. I may admit I have tried to do that and have found difficult to=20
> 3HEAR" the sond in front of the piano as if I where 5 meters farther.=20
> I will assit on a cooloque on the perception of the tuning of the pianos=
=20
> in a fe you.=20
> By the way Del, ther will be something on the pros and cons about old or=
=20
> new wood for the resatauration of ancient pianos. Will forward it too if=
=20
> avaible.=20
> Following is the file (english version)=20
>
> Best regards to all of you .=20
>
> Isaac OLEG=20
>
> Tuner/ technician.=20
> Paris - France=20
>
> Serveur =A9 IRCAM - CENTRE GEORGES-POMPIDOU 1996, 1997, 1998. Tous droits
> r=E9serv=E9s pour tous pays. All rights reserved.=20
>
>
> Tuning of Trichords in the Piano
>
>
>
>
> Eric Marandas, Ren=E9 Causs=E9 (IRCAM), Vincent Gibiat (LOA/ESPCI, UP7 URA
CNRS)=20
>
> ISMA 95, Dourdan 1995=20
>
> ----------
> (<index.htm>Version Fran=E7aise)
>
>
> Abstract
>
>
>
> Are the two or three strings struck by the same hammer in a piano tuned in
> perfect unison ? We used an experimental procedure for precise frequency
> measurements of a single vibrating string (the others being damped), using
> zero-crossings of the sound pressure signal (filtering out all but the
> fundamental). We determined the "mistuning" between the three strings of
> unison groups, from F1 to C5. The average "mistuning" was approximately=
 0.5
> cents. This value is three times lower than the frequency resolution of=
 the
> ear given by works on psychoacoustics.
>
> La version =E9lectronique de ce texte n'est disponible dans son=
 int=E9gralit=E9
> qu'=E0 partir des postes de consultation de l'Ircam, pour des raisons de
> copyright.
>
> Les rapports de recherche et les revues musicales de l'Ircam (ainsi que=
 des
> disques, des brochures d'information...) peuvent =EAtre command=E9s aupr=
=E8s du
> <mailto:comm@ircam.fr>service de Communication de l'Ircam (t=E9l: 01 44 78=
 48
> 98).=20
>
> The full online version of this text is available only from within IRCAM,
> for copyright reasons.
>
> The Technical Reports, all the IRCAM periodicals as well as other
> publications
> (recordings, brochures, etc.) can be ordered from the IRCAM
> <mailto:comm@ircam.fr>PR services
> (phone: +33 (0) 1 44 78 48 98).=20
>
> ____________________________
> </index-e.htm>Server =A9 IRCAM-CGP, 1996, 1997, 1998 - file updated on
> 10/14/1998 at 18h13m12s. To write: </messages/mail.htm>MESSAGE=20



Roger Jolly
Baldwin Yamaha Piano Centre
Saskatoon and Regina
Saskatchewan, Canada.
306-665-0213
Fax 652-0505=20
---------------------- multipart/alternative attachment
An HTML attachment was scrubbed...
URL: https://www.moypiano.com/ptg/pianotech.php/attachments/b3/bd/c7/e8/attachment.htm

---------------------- multipart/alternative attachment--