YES YES YES was NO NO NO

[Don]

Hi Ric,

Thanks for the quotes from the Yamaha manual. I'm sure it is filled with gems.

No one suggested that using f2 or b1 was the *only* way to end up with
excellent results. In fact I specifically mentioned that this was not used
by all tuners. Can you suggest a fault in using them? Can you suggest a
simpler method with fewer steps?

I'm sure you are well aware that the two forks method uses exactly the same
physics as f2 or b1. It does add an extra step and it does rely on
expanding the a3:a4 octave by some unknown amount. It also requires that
two forks be in good calibration, instead of only one. Occam's razor would
suggest to me that this is a less easily learned way to have the correct
end result--i.e. A4 that is as close as humanly possible to the fork (circa
1/10 of one cent).

At 11:06 PM 1/8/2006 +0100, you wrote:
>"Setting the Fundamental pitch:
>1. Comare the note A37 to the tone of the tuning fork, and manipulate 
> the tuning hammer to produce a no beat condition as in unison tuning. 
>The tone A 37 is correctly tuned if the rate of the beats produced by 
>the two tuning forks of 440 and 442, and that of the beats produced by 
>the note A37 and the tuning fork of 442 are the same.

>2: Set the pitch of A37 using the tuning fork in the same way as 
>described in method 1. Check to see whether the rate of beats produced 
>by the major 3rd (A37 and F33) and that of the beats produced by the 
>tuning fork and the note F33 are the same. In another way the note A37 
>can be tuned later by setting the beat rate of A37 and F33 to that of 
>the tuning fork and F33


Regards,
Don Rose, B.Mus., A.M.U.S., A.MUS., R.P.T.
Non calor sed umor est qui nobis incommodat

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