Bluthner Tuning (long-winded rehash of unison tuning)

[Horace Greeley]

Hi, Mark,

At 09:10 AM 2/4/2006, you wrote:
>Hi, David.
>
>Well, I think the numbers just get in the way. All we're talking 
>about it stopping moving the pitch of the second (or third) string 
>at a frequency that's slightly different from the already-set 
>string. That's not harder than exactly matching pitch, it's just a 
>question of judging when to stop.

Absolutely.

Since it bears on this thread and is important in and of itself, I am 
copying in Ed Sutton's recent post of a quote from an article by Jim Ellis:

+++++++++++++++++++

At 05:43 PM 2/3/2006, you wrote:
>Jim Ellis published a series called "Unisons-the Effect of Tuning on 
>Persistence and Timbre" in the Sept, Oct & Nov 1982 PTJournal.  My 
>impression is that he shows a deeper understanding of unisons than 
>Weinreich. (Weinreich is a physicist, not a tuner.)  Here's a quote 
>from Jim Ellis' conclusion:
>
>"Piano tones exhibit two separate decay rates.  There is a high 
>amplitude prompt sound that decays rapidly, and a lower-amplitude 
>aftersound that decays slowly..... Very precise tuning accentuates 
>the prompt sound, eliminates subdued beats, reduces the total 
>persistence of the tone, and provides maximum tuning 
>stability.  Slightly staggered tuning decreases the duration of the 
>prompt sound, increases the persistence of the total sound, 
>generates subdued beats even though the lower partials may frequency 
>lock, and provides minimum tuning stability.

Yes.

>Very slightly staggered tuning has its place for special occasions 
>when both the artist and tuner know what they are after....."

I think that I am not putting words in either Jim's or Ed's (Foote) 
mouth to suggest that this is very much a matter of taste and 
preference rather than "right" or "wrong".  As a tuner, one has to 
develop this as an artistic sense, rather than something to be 
reductively analyzed.  And, the applicability is going to vary wildly 
with individual instruments, venues, performers and literature.  I 
have worked with folks who like unisons so wide you could drive a 
big-rig through them and others who wanted things so tight that it 
was positively painful (especially on a very loud D in a very small 
room with a very low ceiling and very little to absorb sound).

>I recommend this article as probably the best available on unison behavior.

Absolutely.
+++++++++++++++++++++++++++++++++

As noted above, sometimes numbers get in the way more than they help.

Best.

Horace