Hi Richard, snippety snip. > That being said.. I found it interesting to read his declaration that matching > partials such that one has either a 2:1 or a 6:3 octave type, results in an > octave with a "slight natural beat on the flat side" and that tuning octaves > in which the natural beat is eliminated when the unisons are tuned will be > "wider then the first seven of Reyburn's so called octave stretches". These > followed by the statement that "Jim Coleman's Pure 5ths temperament will result > in a natural octave bead on the sharp side." My 'learning' of tuning pianos is a little different from many other more fortunate persons and I truely lack the ability to express exactly what I mean cos I am dumb but, this natural beat is the (to me) the sound or feeling you get when two notes blend in the best. I think I am trying to say 'when all audible harmonics are at their smoothest'. With me, this results (on a good piano) being maybe all fifth's are a 1/4 beat per sec on the flat side and the fourth's are about 3/4 beat per sec. > > Notice that these statements seem to apply equally to all ranges of the > piano... with no real difference...ie a 6:3 octave in the high treble is still > going to yeild a "narrow" natural beat octave. Aside from that kind of > thing...these statements open a door that might allow us to look closer at the > possiblity that there is some phenomena going on that has been overlooked so > far by those from the ETD world. > > If its a hearable beat like thing we are looking for... and in the range Virgil > states... it should be measurable in some sense also. > You will have noticed also that when tuning the bass in same piano and you play a fifth, say C2, G2 whilst tuning C1 that you are tuning to a beatless sound on octave and on octave fifth at the same time. Next one is that after you tune a piano, check it and touch up (one string at a time, others in note muted) the tuning with the sustain pedal on. For some reason, possibley the interaction of all harmonics being induced, a beat is audable which is the composite of all harmonic beats for that note. I would like to see a template written for a ETD that takes into consideration the tuning of octaves based on the octave and the octave and a fifth with the tuned note set at that point equally between the two beats. Does that make sense ?. > -- > Richard Brekne > RPT, N.P.T.F. > Bergen, Norway > mailto:Richard.Brekne@grieg.uib.no > > Regards Tony Caught ICPTG Australia caute@optusnet.com.au
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