Aural vs. electronic again

[tune4u@earthlink.net]

Thanks for all the "stuff." I'll sort it out and work on it when I get back
from Randy_Susan_Joe_Land (Oregon) in 2 weeks or so.

Alan
Salem, MO

----- Original Message -----
From: "Bill Ballard" <yardbird@vermontel.net>
To: "Pianotech" <pianotech@ptg.org>
Sent: Monday, January 20, 2003 11:11 PM
Subject: Re: Aural vs. electronic again


> At 9:46 PM -0600 1/20/03, <tune4u@earthlink.net> wrote:
> >>  Actually a different "technology". What you're describing is using
> >>  the 19th to "ghost" the 6:3 octaves coincidental partials. It's a
> >>  good way of reinforcing (or even finding the pitch on which the beat
> >>  rate actually occurs. Good theory and ear training for people just
> >>  starting out with aural tuning.
> >
> >Yeah. I wrote a looong article on ghost tone tuning/testing on here a few
> >weeks ago. I like it because you really cut through the noise sometimes.
>
> It's a mechanism which allows you to excite only one partial
> (although frequently a second partial may be heard as well). Not only
> will it wipe all other partials out of the sound, but it will also
> recreate the beat rate occurring, in your case at that octave's 6:3
> level. It's a mechanical filter to give you only the ghosted
> partials, the partials you want.
>
> It's a wonderful mysterious world. A friend of mine, now gone, also a
> student of Bill Garlick's, described it as meditation.
>
> >What's interesting, too, is that even though your "beat" might be at,
say,
> >the 6th and 3rd partials, the perceived sound of the beat will be at the
> >fundamentals of the two notes, or at least a lot lower than the 19th.
> >Example, you play an out-of-tune octave and get the beat rate. You'd
think
> >it's somewhere at or between the octaves until you wang the 19th and
realize
> >THAT is where the beat is. Don't know if I said that very well. Good
> >training, as you say.
>
> You did say that very very well. I think you just need more ear
> training. You were talking about that last month, I think.
>
> >>  I what I'm doing is listening to the beat rate in a given octave
> >>  (say, 6:3 instead of 2:1), and mistuning the unison in the "tunee" to
> >>  match the out of tuneness heard in the octave. At this point the
> >>  mis-tuned string should be brought in tune with the "tuner" (note
> >>  being tuned): all that remains is to pull the other string(s) on the
> >>  "tunee" in unison with that one.
> >
> >I will experiment with this.
>
> Do you have any questions. You should realize that this is a specific
> procedure. It may be an aural measuring device, but it's still a
> principle and it's still a specific procedure.
>
> Look at it as a pair of dividers. You play the octave, and the 6th
> partial of C2 is 3Hz sharp of the 3d of C3. You copy that 3 pbs
> (remember, 3 Hz) with your divider. You then push one string of C2
> (the tunee) down by the amount laid out by your divider. The 6th
> partial of this string now matches the 3d partial of C3. The other
> string(s) on C2 are now ready to brought into a whole, two unisons
> and four or six octaves.
>
> An analogy (though of a different model) would be taring a set of
> scales. Start with an empty platen at 0.00. Put an object on it, x.xx
> grams. tare the scale (zero it). remove the object from the platen.
> Observe the scale now reading "-x.xx". What's similar is that the
> quantity "x.xx" is preserved, although not absolutely (pun intended).
>
> >>  Why not just hold both C2 and G4 open with the sostenuto, and tune
> >>  the 12th directly, as Phil was doing.
> >
> >Never thought to. Little tough to do in the old Betsy Ross spinet <G>
>
> That's why I was answering alot of questions for him about unison
> shimming. You could do it with one or two Hartman "Third
> Hand"s........
>
> >>an the two beat rates (m3d and M3d) will combine in the air,
> >>faultlessly, distinctly as a  single beat rate.
> >>
> >
> >I'll try this one, too.
>
> Lot's more where they came from.
>
> Bill Ballard RPT
> NH Chapter, P.T.G.
>
> "I'll play it and tell you what it is later...."
>      ...........Miles Davis
> +++++++++++++++++++++
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