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My films are address for simply laymen who are trying to repair their own piano

Max ridiculed and persecuted many really alive!

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the ones where the speaking length is the same are tuned unison or a little higher. [/quote]
Thank rxd,that's what I wanted to know

Max,
From G47 to C# 65 is one octave higher. This section

Blüthner treble section

From D66 to C88 is tuned same as unison.

This section

High treble

Max,

regarding unison tuning, I think every tuner - including very good ones - has been in a concert where his/her unisons started to drift. It is a truly gruesome thing... I can't talk about it any more for now, because I will lose a good night's sleep if I continue

I just sat at the computer listening to Brad Mehldau's playing at the Village Vanguard, NY, 2006. A bit into the gig, the tuning is loosening up.

Here's the fourth-to-last track called "Secret Beach".
Brad Mehldau: Secret Beach

The tune is in A minor. Listen to B4. That note is much more than 2 cents off. Brad notices that, too, and because jazz piano players have the advantage of choosing what to play after the theme is introduced, he avoids letting B4 ring. I can understand him, it's really kind of awful-sounding.

Just to provide some comfort in your quest for good-sounding unisons

I find it photo such as a piano in our school. However, our was made ​​in Leipzig (DDR)

I can not say sharp, but I think that when the sounds in chorus aliquot string begins resonance. A hammer don't touch it. If it is tuning accurately an octave higher than it then would be "classic styl." Slightly higher or lower to the effect it's the accordion pitch

It's subtler than that, Max. Slightly sharp on the aliquots was taught to me by the Blüthner technicians when I joined the company in the 1960's but any sharpening was well within the 2 cents being mentioned here. I suppose it's better to say "if anything, sharp, but never on the flat side". This is a matter of judgement, it would be foolish if I were to try to lock it down to a cents value. As another old tuner said; "put the little******* where they 'sound' ". I will not write exactly what he called them because it will certainly get lost in translation and you will, no doubt, chastise me.

You raise a good point though. What you describe as the "accordion sound" is what we are trying to avoid in all our unisons. We are looking, at this point, to have you remove every last trace of accordion sound. Your description is appropriate.

Of course, it is not outside the bounds of probability that you tuned perfect unisons that sprang apart at the first energetic playing so pin setting goes together with still unisons

While you have posted your theories on tuning lever angles, I suggest using the lever so that the handle Is in line with the strings. This means the handle is vertical on an upright. This isolates much of the flagpoling from having an effect on the pitch of the string so that you.can concentrate on rotational movement.

(I did go into using the thumb as a fulcrum to help remove the flagpoling and reduce springing forces on the pinblock but it got too complicated. A picture really would have said a thousand words).

Pat,

Many thanks for your recordings. I found it very useful to hear the de-tuned unison (-1, 0, +1).

(Frankly, I can't believe that anyone would prefer such a unison over a beatless one, as Kirk's paper would have us believe. The mind boggles!)

Accordion? I would say either hammered dulcimer or cimbalom, and I tend to believe that before metal frames and multi layers pin blocks and L-shape tuning levers (and normal temperature and humidity control) were in use, that is (funnily enough) more the kind of unisons piano players would go along with.

Please do not get me wrong, nothing to do with musical-ear-based "good intonation" that in my opinion as always been shareable as it is today; nothing to do with clean, long sounding and stable unisons that we are enabled to achieve, resulting from refined technology and (now called for, essential) skill.

Thank you, today this discussion made me surf the web and discover this lovely singing:

http://www.youtube.com/watch?v=ATBNKmC_SG0&NR=1

Regards, a.c.

Now Patrick's recordings will hear russian tuners
http://maxim-tuner.narod2.ru/ustroi...zno_predostavlennii_patrick_wingren_rpt/

This Kazakh girl singing about the beautiful nature around her. Max hears a lot of this Kipchaks music recent years. Musical instrument called Dombyra

Thanks Max, Alfredo was wondering about both the lyrics and that instrument.

Edit: More "tuning".

Max, has nobody told you that - in English - you would not say ..."Max hears a lot of..."...

Instead of "Max hears..." or whatever concerns the subject, they would say "I hear...".

I love it that Max refers to himself as "Max". Don't change it, Max! Ando supports you.

I tried yesterday to record "dull" unison (the dynamics is low as most of the energy is given immediately) then "open unison" (obtained with always one string frankly phasing on reverse than the others, that is in the 0.1 0,4 cts range but may certainly be more depending of th ih of the piano. I had only a low iH piano for those tests, that make them more difficult as low iH straighen the enveloppe very easely)

Despite that, you can make a tone that sort of implose on itself, or a tone that gives enough energy to the partials, producing more lengh, more dynamics, and the otherwhile missing sensation of an efficient attack in the pianist fingers.

The unbalance is obtained naturally while tuning, to perceive its presence you need to pluck the strings, playing with the hammer each string we are really in the ear discrimination zone (but I heard 3 different pitches on the first unison posted by Pat). This is the level of difference find in any unison, that cab, eventually, stay put (if a certain shape is adopted from the start.

I'say one must stop thinking pitch and learn to perceive the energy level in its fingers an ears. Then, on a moderate ih piano the tuner can reinforce the tone of a partial.

Regulating the attack soon so it couple audibly the partials will rob harshness and transfer it to musical tone.

A single string (roslau) show a visible hop after a "hole" immediately after the attack noise. I believe that tuning from that moment is more efficient than regulating only the tail or even during the thick part of tone.

I suggest (?) that the way we manage tge unison, that lower energy level moment can be made smaller or longer, stronger or less.

Only changing the force used to play is enough to change the final tone (hopefully, as changing our listening moment is not a good idea, it is tiring and you can bevwrong in tge end.

Nevertheless, one have to force himself a little to listen sooner, the best tip for that is to "listen with the playing hand". With time all that begin to be natural. Tuning is not tiring then.

Ando, I too like it, that Max writes as Max does, be him totally aware of it (like you presumably are)... I would do not like if Max was left with his petty ignorance in order to please you, Ando, as I would find that unhealthy.

You know, in our profession we may need to speak English sometime, and all the better if our English (along with our tuning) is correct, whether Ando loves that or not.
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Kamin,if I understand you correctly, the "basic clean unison" depends in this case the external force of impact with respect to the string . In my practice, I try to make the last tuning unison at FF (forte). However it is very hard to hear on FF inconspicuous beats between three strings

Max says Ando thanks

This from the same post!!!

Alfredo, you may think you have mastered our language, next, take a look at the cultural differences.

While we merely tolerate your laughable lapses, we find Max's endearing. Perhaps because he is less arrogant?

You might be almost as arrogant as me.