Aural vs. electronic again

[Isaac OLEG]

Hello,

With the VT100, (and if the last night was good), I sometime can tune
a spinet or same kind without a mute since I am in the 5 the octave -
possible in the extreme treble and in the bass too, I use a finger to
stop the attack of a string and focus better on the remaining, good
exercise to focus on the whole tone too (by opposition to focus on
partial matches).

Floor tunings for the // bass : finger tuning, listen to the beat rate
in the octave with a finger on the left bass string (hello finger
marks !), then tune a similar beat rate between the 2 strings, the
tune the bass unison.

Regards

Isaac OLEG

Entretien et réparation de pianos.

PianoTech
17 rue de Choisy
94400 VITRY sur SEINE
FRANCE
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> -----Message d'origine-----
> De : pianotech-bounces@ptg.org
> [mailto:pianotech-bounces@ptg.org]De la
> part de tune4u@earthlink.net
> Envoyé : mardi 21 janvier 2003 02:40
> À : Pianotech
> Objet : Re: Aural vs. electronic again
>
>
> Interesting. I tune a C2-C3 using the same science but
> without having to
> hear and match a beat rate--if the room is fairly quiet.
>
> I tune the octave listening to the 6:3 partials (hit the
> 19th, octave above
> 12th, if needed to get in my ear the pitch I'm listening
> for). When I think
> it's beatless, hold the octave down quietly, whomp and
> release the 19th to
> energize the partials in C3 and C3--might even tweek C2
> while listening. If
> there is no beat or roll, it's a perfect 6:3
>
> If there is a lot of noise in the unison strings and it's
> hard to find the
> "sweet spot" you can hold the key down and whomp the 12th.
> Tune out the
> rolls of this overtone and (unless strings are really sick)
> it makes, I
> think, the  cleanest possible unison.
>
> New topic: I'd like to see someone invent an ETD that could truly
> differentiate between two very close tones, i.e., two
> strings. This would
> help zero in unisons on your Betsy Ross quality bass notes
> and on the high
> treble of every piano I tune. If it could also make hot
> chocolate and toast
> bread, we'd have a heck of a piano tunin' tool, eh?
>
> Alan Barnard
> Salem, MO
>
>
> ----- Original Message -----
> From: "Bill Ballard" <yardbird@vermontel.net>
> To: "Pianotech" <pianotech@ptg.org>
> Sent: Monday, January 20, 2003 7:05 PM
> Subject: Re: Aural vs. electronic again
>
>
> > At 11:29 AM -0600 1/20/03, <tune4u@earthlink.net> wrote:
> > >What, please is meaning of "unison shimming," Comrade?
> >
> > It's an aural technique for correcting intervals, using unisons. I
> > described it in the PTJ sometime in the mid-90s ('93, '94? I don't
> > have the CD-ROM), called "Your Friend the Unison". I recently
> > described it to Phil Bondi, who wanted to tune aural
> P12ths without
> > having to rely on a working sostenuto (or playing one of the notes
> > with a big toe).
> >
> > Essentially this is how it works. You want to tune C2 a 6:3 octave
> > from C3. C2 is likely to be a bichord, so, one of its strings is
> > muted. Or both strings can be open as long they are frozen dead
> > breathless. (You know the old WW II movies: the enemy
> soldier holds
> > the bayonet to your nostrils for two minutes and observes no
> > condensation on its-cold-steel.) You play the octave and
> memorize the
> > beat rate AT THE 6:3 coincidental partial level, as a
> musician would
> > a tempo. If you don't know whether the octave is narrow
> or wide find
> > out now. You then mistune the unison on C2 in the correct
> direction,
> > duplicating the beat-rate which you just heard. This
> mis-tuned string
> > will now be a perfect 6:3 octave (depending on the
> accuracy of your
> > musician's sense of tempo). Tune the other string of C2
> to it and you
> > have now corrected the error in the original 6:3 octave.
> >
> > The unison got shimmed, right?
> >
> > At 3:57 PM -0800 1/20/03, Susan Kline wrote:
> > >Bill? I assume you mean muting the notes individually
> with wedges?
> >
> > Are you referring simply to my choice of mute (individual wedge or
> > strip), or possibly to whether I'm working with mutes on a note or
> > with all strings open? Is the above a good description?
> Does anyone
> > remember a game played by astronauts (first appearing in a sci-fi
> > story 20 years ago) in which a conversation moves forward
> solely by
> > questions? (The first person to make a statement loses.)
> >
> > There's actually no limit to the number of situation in which the
> > basic principle can be applied. It's great for unison tuning two
> > pianos, for instance. But it's definitely an aural technique,
> > although I suspect there are analogous electronic routines. As a
> > by-product, it shapes your unisons right up, as any
> impurities in the
> > unisons will cloud the required measurement of beat rates.
> >
> > Bill Ballard RPT
> > NH Chapter, P.T.G.
> >
> > "I go, two plus like, three is pretty much totally five. Whatever"
> >      ...........The new math
> > +++++++++++++++++++++
> > _______________________________________________
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>
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