This is a multi-part message in MIME format. ---------------------- multipart/alternative attachment Richard, Nice recording, thanks for sharing this. This is effectively a very nice piano , I enjoyed the listening I just read your comments on the pure twelve, but my opinion differ slightly. Isaac OLEG 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) Did you notice the violin like the fourths to be slightly smaller than the piano ? Since the beginning of the piece you hear that the violin tuning is less stretched (and hence more warmful) 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. 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) 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. 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. 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.. 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. 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. 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. 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. 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. 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). 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... Best regards. Isaac OLEG -----Message d'origine----- De : pianotech-bounces@ptg.org [mailto:pianotech-bounces@ptg.org]De la part de Richard Brekne Envoye : mercredi 26 mai 2004 19:40 A : Newtonburg Objet : For your Listening Pleasure 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. One of the many violin and piano sonatas by Beethoven. This is a long piece... 8 minutes... so download this only if you have a broadband connection. Cheers RicB ---------------------- multipart/alternative attachment An HTML attachment was scrubbed... URL: https://www.moypiano.com/ptg/pianotech.php/attachments/b9/18/6f/07/attachment.htm ---------------------- multipart/alternative attachment--
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