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Re: CHAS PREPARATORY TUNING [Re: alfredo capurso] #2676454
09/20/17 03:21 AM
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Originally Posted by alfredo capurso
Originally Posted by Bernhard Stopper
Originally Posted by alfredo capurso

lol

I see, you were addressing the whole theory, not unisons... lol.


.


If the frog notice that the water is hot, it is too late to jump out.


Originally Posted by alfredo capurso

I do not think I have ever stated that "..only in Chas ET all intervals do progress".

Oh, Bernhard, the basic Chas algorithm version is with s = 1

Time has passed, this is true, apparently you need some more.

Arguments, gentlemen. Otherwise, you could start your own thread and denigrate as much as you like.

Regards, a.c.





That saying fits the case: your guess was wrong, so you attack the theory... lol
.


I don´t see what is wrong in attacking a wrong theory.
Arguments please. Only saying my guess is wrong isn´t an argument. In my view my guess is proven as it correlates with the wrong model you have in mind about pure twelfths ET (not only about pure twelfths ET, but also the pure thirds ET model you mentioned in the same section. This proves to me that there is a lack of understanding of the basics of equal temperaments). The misinterpretation of ET is what makes you believe that Chas ET is superior over other ones. This of course needs some attack.

Last edited by Bernhard Stopper; 09/20/17 03:56 AM.
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Re: CHAS PREPARATORY TUNING [Re: alfredo capurso] #2676459
09/20/17 04:03 AM
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Pathetic.

As for "lack of understanding", let us know whether the "minimum overall beating" you hear is narrow beating or wide.

Lol


alfredo
Re: CHAS PREPARATORY TUNING [Re: alfredo capurso] #2676463
09/20/17 05:08 AM
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Originally Posted by alfredo capurso

Pathetic.

As for "lack of understanding", let us know whether the "minimum overall beating" you hear is narrow beating or wide.

Lol


I should not answer with that additional laughter but if this is just your intention or if it helps to evaporate your frustration, so i will do anyway. I just ask you politely to leave out such emotions. I have nothing against you personally, nor do i find anything wrong with your Chas stepsize, nor do i question your skills as a professional tuner.

I just correct what is objectively erroneous in your interpretations in ET´s in general and your conclusions from this wrong interpretations to what happens when tuning unisons. I agree that when you tune your unisons over the previously tuned pure twelfths on the middle strings, that you hear a beating in the twelfths then from not so perfect still tuned unisons. Did not talk Isaac Oleg about your "smiley" unisons? I have to agree that if one does not tune unisons as still as possible, the resulting interval tuned pure on single strings before can´t be pure anymore with full tuned (smiled) unisons by nature. (Amanda was addressing this too already with octaves) But this does not cramp the whole tuning into another ET size in the magnitude you need to transform pure 12ths ET into Chas ET.

So now to your question: Neither narrow nor wide, just right, as pure as possible aurally. Beating alone does not indicate if an interval beats wide or narrow. This does not mean that an educated and experienced tuner can´t hear if a beating interval is narrow or wide, but then other interpretation skills are involved beside interval beating alone.

Now would you please address the erroneously interpretation of ETs in your paper.

Last edited by Bernhard Stopper; 09/20/17 05:15 AM.
Re: CHAS PREPARATORY TUNING [Re: alfredo capurso] #2676467
09/20/17 06:01 AM
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Bernhard,

You come up with more guessing, now on the quality of my unisons. You may be an expert of emotions, please understand that if I laugh it is for the absurdities you come up with. Check my unisons in one of many recordings available in the Web and let me know.


alfredo
Re: CHAS PREPARATORY TUNING [Re: alfredo capurso] #2676471
09/20/17 06:15 AM
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Originally Posted by alfredo capurso

Bernhard,

You come up with more guessing, now on the quality of my unisons. You may be an expert of emotions, please understand that if I laugh it is for the absurdities you come up with. Check my unisons in one of many recordings available in the Web and let me know.


I do not question your unisons. I was quoting what Isaac Oleg said about them. (Patrick Wingren too btw). They say they are beautiful. I do not question this. I was also commenting your tunings that they are fine some years ago. (No wonder for me, as pure 12ths on middle strings is the base of the tuning). You call objective facts as absurdities when i address objectively wrong claims. But you refuse to debate them seriously.

Last edited by Bernhard Stopper; 09/20/17 06:18 AM.
Re: CHAS PREPARATORY TUNING [Re: alfredo capurso] #2676474
09/20/17 07:19 AM
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Guess, Bernhard, I am working right now. I shall tell you more, do not rush your conclusions, just wait.
.


alfredo
Re: CHAS PREPARATORY TUNING [Re: alfredo capurso] #2676583
09/20/17 06:47 PM
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Bernhard,

The first thing I need to say is that you seem to be obsessed with "pure" 12ths, never mind if you notice a "minimum overall beating" that makes the 12th not pure, but "clean". lol

Perhaps as a result of your obsession, you believe that I confuse the tuning I do with a "pure" 12ths tuning where 12ths, you say, would necessarily exhibit a "minimum overall beating". Here, again, you are wrong: when I tune, if the 12ths, the15ths and all the other intervals exhibit a specific "beating" is because I am "drawing" a specific tuning curve, do you understand this? Not one single interval, but all intervals as in a whole. You cannnot do that with a spanner, nor can you have me say that I like a pure-12th tuning, as RBIs sound too "salty" to me, and so off-putting.

You wrote: …” ..You tune pure twelfths on the middle string over a vast part of the piano.."..

As mentioned in a previous post, that is, again, wrong. Go back to that post and see how many wrong conclusions you had come to, only two days ago:

#2676140 - September 18, 2017 10:41 PM Re: CHAS PREPARATORY TUNING [Re: alfredo capurso]

In the post above I omitted your final suggestion:

..."If you want a Chas tuning, you may preferrably do something Bill Bremmer does with mindless octaves, what would probably represent more a Chas tuning than your actual approach."...

At that stage, yours could not be ignorance, as in a previous post, in Toni's thread, I had well explained why Bill's method for tuning octaves, like with a double spanner, has nothing to do with my own practice, nor with an ET stretch scheme such as pure 26ths.

You then wrote: ..."..There seems to be a lack of understanding of the basics of interval beating in different ET sizes as well. ET´s without iH (s=0 as Alfredo says) progress with all intervals perfectly, no matter what ET-size is choosen (except if a pure interval was selected as base interval where this interval would be beatless throughout the scale.)..."...

The above is nonsense.

And ..."..I figured out already in a review of Alfredo´s paper when he came up with his theory some years ago here, that he did not understand this basic principle, as he claimed that only in Chas ET all intervals do progress."...

The above is wrong again, I never stated what you wrote.

And then you wrote: ..."..In your tractat you presented some other ET then, where fifths or other intervals invert at some point. This is factually wrong with no iH or s=1"...

The above is false.

..."..My guess is, that this misunderstanding (that intervals do invert in some ETs which are not Chas) leads you the interpretation, that after tuning pure twelfths on the middle string, they get progressively smaller after tuning the unisons."...

That was your guess, hilarious.

And you wrote: ..."..My guess seems indeed right, just from your misinterpretation of pure twelfth temperament beat rates you falsely came to the conclusion that pure twelfths converges to smaller twelfths when finishing the unisons."...

The above was even more hilarious.

And more: ..."..There are serious scientists who noticed what your theory is (many thanks to professor Kees van den Doel)"...

Well, It sounds like you and the Professor you cite have already understood everything.

Then you corrected a typo in your statemement and wrote: ..."..So to sum up again: My guess is that exactly this wrong model about pure twelfth ET that you have in mind is what leads you to the wrong guess that a pure twelfth ET over the whole piano can shrink to a Chas ET just by tuning unisons,..."...

I had already said that that is not the case, in fact I do not tune "..a pure twelfth ET over the whole piano..", that is wrong, again, and you do not seem to acknowledge what I say and what I do.

..."..which is not possible (i second also what Amanda had to say about pitch sagging) if there is no pitch raise, as every twelfth would need to shrink by 1,23 cents (the difference between a pure twelfth ET twelfth and a Chas twelfth)"...

On a real piano there is not exact number, you need to check what is going on... as you go.

..."..leads you to the wrong guess that a pure twelfth ET over the whole piano can shrink to a Chas ET just by tuning unisons,..."...

I have already explained how we need to check the whole tuning curve, 12ths and all intervals, even while we are tuning unisons.

..."..which is not possible (i second also what Amanda had to say about pitch sagging) if there is no pitch raise, as every twelfth would need to shrink by 1,23 cents (the difference between a pure twelfth ET twelfth and a Chas twelfth).."...

On a real piano there is not exact number, you need to check what is going on... as you go.

So, your idea: ..." The truth for me is, that in your tuning practice you are selling something else (a pure 12th ET temperament) under a wrong label (Chas theory)."...

I hope you understand why that is still hilarious.

Today you wrote: ..."In my view my guess is proven as it correlates with the wrong model you have in mind about pure twelfths ET (not only about pure twelfths ET, but also the pure thirds ET model you mentioned in the same section. This proves to me that there is a lack of understanding of the basics of equal temperaments)."...

You may need to re-read that section more carefully.

..."..The misinterpretation of ET is what makes you believe that Chas ET is superior over other ones."...

Never said that the Chas harmonic temperament is superior, I am careful with that and always talk about "my favorite tuning". The Chas ratio tempers all intervals, no interval is "pure". Chas describes a whole, a purely "non-pure" whole. Perhaps you would say "clean".

..."..This of course needs some attack."...

Yes, of course lol

And you wrote: ..."..I have nothing against you personally, nor do i find anything wrong with your Chas stepsize,.."...

I see, you stated that you know what Chas "...theory is (many thanks to professor Kees van den Doel)", but you find there is nothing wrong with the "Chas stepsize"?

..."..I just correct what is objectively erroneous in your interpretations in ET´s in general and your conclusions from this wrong interpretations to what happens when tuning unisons."...

From your wrong conjectures to the theorem that should explain my own "wrong interpretations"? Should I cry?

...".. I agree that when you tune your unisons over the previously tuned pure twelfths on the middle strings, that you hear a beating in the twelfths then from not so perfect still tuned unisons."...

Can I laugh?

..."..Did not talk Isaac Oleg about your "smiley" unisons? I have to agree that if one does not tune unisons as still as possible, the resulting interval tuned pure on single strings before can´t be pure anymore with full tuned (smiled) unisons by nature."...

I guess you ought to teach me how to tune unisons... lol. You cite Isaac Oleg but you do not remember his comments after we met in Paris. You can look for them somewhere in this forum.

..."..But this does not cramp the whole tuning into another ET size in the magnitude you need to transform pure 12ths ET into Chas ET."...

You said it, "..magnitude..", order of magnitudes, that is where you need to investigate a bit more.

..."..So now to your question: Neither narrow nor wide, just right, as pure as possible aurally."...

I see. I guess we started from different aural potentialities and you stopped when - to you - it seemed impossible.

..."..Beating alone does not indicate if an interval beats wide or narrow."...

Nonsense. In order to establish whether an interval beats wide or narrow, we have plenty of checks.

..."..This does not mean that an educated and experienced tuner can´t hear if a beating interval is narrow or wide, but then other interpretation skills are involved beside interval beating alone."...

You said it, "..other interpretation skills are involved..".

..."..I do not question your unisons. I was quoting what Isaac Oleg said about them. (Patrick Wingren too btw). They say they are beautiful. I do not question this."...

Read above, you understood that my unisons are not "..as still as possible..". lol

..."..I was also commenting your tunings that they are fine some years ago. (No wonder for me, as pure 12ths on middle strings is the base of the tuning)."...

You are wrong again. You are still in the "pure" mode, and yet you tune "clean". Please, do not abuse the word "pure" anymore. In that sense, the base of the tuning could be clean octaves, for those who have worked with octaves, or clean fifths, or clean 19ths, or 26ths. What is then (for me) "..the base of the tuning? It is thinking in terms of "base, height, depth and.. beat-timing", it won't be one single interval, but all intervals interlaced together.

Last, you wrote: ..."..You call objective facts as absurdities when i address objectively wrong claims. But you refuse to debate them seriously."

Conjectures, Bernhard, cannot be reported as "objective facts". As for that section, everything is fine numerically. Perhaps you misunderstood those results.

In any case, in order to abandon the idea of one "pure" interval and in order to work with smaller orders of magnitude, let me guess, I think you need another five years.

Cheers,

Alfredo
.


alfredo
Re: CHAS PREPARATORY TUNING [Re: alfredo capurso] #2676633
09/21/17 12:17 AM
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Fact is, Alfredo does not understand the difference between a 3:1 and a 6:2 12th, let alone something in-between.

Kees

Re: CHAS PREPARATORY TUNING [Re: alfredo capurso] #2676642
09/21/17 01:47 AM
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Since we have access to such rarefied once in a lifetime expertise, will the combatants please colaborate on an answer for me.

Given that few new piano trios have been written by major composers over the last hundred years, the reason given is that the piano, as an instrument has become overpowering for violin and cello, one result is that Schoenberg has written for more powerful winds being combined with the weaker regions of the piano leading to flute and clarinet interacting in the fifth and sixth octaves while the piano part is written including the sixth and seventh octave. Simultaneously, bassoon in the second octave with piano in the first and second octave.
In the same program, Harrison Birtwistle, equally respected these days but more contemporary, has written for standard instrumentation, piano, violin, 'cello but using similar compositional techniques.

What would be the ideal stretch for this situation? Given the lack of iH in the winds and strings and this discussion has used a 0 iH model, Should I adjust the basic pitch in order to accommodate the instruments involved so that I have greater flexibility of stretch?

Oh, and the ubiquitous old trout in the first half. Should I retune in the intermission.


Amanda Reckonwith
Concert & Recording tuner-tech, London, England.
"in theory, practice and theory are the same thing. In practice, they're not." - Lawrence P. 'Yogi' Berra.


Re: CHAS PREPARATORY TUNING [Re: rXd] #2676654
09/21/17 02:57 AM
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The amount of inharmonicity in most other instruments is overwhelmed by the lack of accuracy and stability in their pitch.


Semipro Tech
Re: CHAS PREPARATORY TUNING [Re: rXd] #2676675
09/21/17 06:24 AM
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Originally Posted by rXd
Since we have access to such rarefied once in a lifetime expertise, will the combatants please colaborate on an answer for me.

Given that few new piano trios have been written by major composers over the last hundred years, the reason given is that the piano, as an instrument has become overpowering for violin and cello, one result is that Schoenberg has written for more powerful winds being combined with the weaker regions of the piano leading to flute and clarinet interacting in the fifth and sixth octaves while the piano part is written including the sixth and seventh octave. Simultaneously, bassoon in the second octave with piano in the first and second octave.
In the same program, Harrison Birtwistle, equally respected these days but more contemporary, has written for standard instrumentation, piano, violin, 'cello but using similar compositional techniques.

What would be the ideal stretch for this situation? Given the lack of iH in the winds and strings and this discussion has used a 0 iH model, Should I adjust the basic pitch in order to accommodate the instruments involved so that I have greater flexibility of stretch?

Oh, and the ubiquitous old trout in the first half. Should I retune in the intermission.


I was looking for well considered sound advice from the acknowledged international experts in the field but I will of course, this being a public forum, consider a well meaning best guess. I am talking about some of the finest musicians with refined breath control and fine well maintained reliable pianos. Not some smeary bleary saxophone player at two in the morning in an establishment where the pianos continually fall apart. wink


Amanda Reckonwith
Concert & Recording tuner-tech, London, England.
"in theory, practice and theory are the same thing. In practice, they're not." - Lawrence P. 'Yogi' Berra.


Re: CHAS PREPARATORY TUNING [Re: rXd] #2676686
09/21/17 07:55 AM
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Originally Posted by rXd
Originally Posted by rXd
Since we have access to such rarefied once in a lifetime expertise, will the combatants please colaborate on an answer for me.

Given that few new piano trios have been written by major composers over the last hundred years, the reason given is that the piano, as an instrument has become overpowering for violin and cello, one result is that Schoenberg has written for more powerful winds being combined with the weaker regions of the piano leading to flute and clarinet interacting in the fifth and sixth octaves while the piano part is written including the sixth and seventh octave. Simultaneously, bassoon in the second octave with piano in the first and second octave.
In the same program, Harrison Birtwistle, equally respected these days but more contemporary, has written for standard instrumentation, piano, violin, 'cello but using similar compositional techniques.

What would be the ideal stretch for this situation? Given the lack of iH in the winds and strings and this discussion has used a 0 iH model, Should I adjust the basic pitch in order to accommodate the instruments involved so that I have greater flexibility of stretch?

Oh, and the ubiquitous old trout in the first half. Should I retune in the intermission.


I was looking for well considered sound advice from the acknowledged experts in the field but I will of course, this being a public forum, consider a well meaning best guess.


Sure, here is a guess. Just like the radio satisfied the need for the home piano, especially player pianos, (making them less and less popular) so too did quality recordings satisfy the need for small ensembles such as piano trios. Parlor music, where a small ensemble could fit into a home and a full orchestra could not, was replaced with hi-fi recordings and equipment.

Myself, I dislike piano trios. Only the piano is in tune... Somehow it is different with a large ensemble. The average pitch of the large sections seems to be better, or perhaps just indeterminate.


Jeff Deutschle
Part-Time Tuner
Who taught the first chicken how to peck?
Re: CHAS PREPARATORY TUNING [Re: alfredo capurso] #2676707
09/21/17 10:04 AM
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Amanda, Alfredo,
i´m at work right now, no response before week end from my side...

Last edited by Bernhard Stopper; 09/21/17 10:05 AM.
Re: CHAS PREPARATORY TUNING [Re: alfredo capurso] #2676713
09/21/17 10:21 AM
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Originally Posted by alfredo capurso

I would like to dedicate this Topic to practical Chas ET aural tuning. In my hope, this may eventually help to gain Chas beating whole.

This thread is not intended for discussing different tunings or techniques, nor sequencies efficiency. It is meant as the long-distance “handing on” of my approach, what may substitute a personal directioning of mine for sharing Chas Theory's Temperament.

Please, do not expect regular posting. I will most appreciate any kind of feedback from aural tuners and/or music involved people, through PM or e-mail. In this Topic then, we may talk about individual progress details.


Best regards, a.c.



CHAS THEORY - RESEARCH REPORT BY G.R.I.M. (Department of Mathematics, University of Palermo, Italy):

http://math.unipa.it/~grim/Quaderno19_Capurso_09_engl.pdf

CHAS Tuning MP3 (Granpianoman) on a Steinway S (5’ 1”, 155 cm)
http://www.box.net/shared/od0d7506cv

Presentation on PW and discussion (May 07, 2009) :
http://www.pianoworld.com/forum/ubb...CULAR%20HARMONIC%20SYSTEM%20-%20CHA.html




alfredo
Re: CHAS PREPARATORY TUNING [Re: alfredo capurso] #2676736
09/21/17 11:33 AM
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Originally Posted by alfredo capurso



...This thread is not intended for discussing different tunings or techniques, nor sequencies efficiency...


May i remind you that you redirected us from Toni´s thread. (Now really off until weekend)

Re: CHAS PREPARATORY TUNING [Re: alfredo capurso] #2676775
09/21/17 01:45 PM
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Originally Posted by Bernhard Stopper
Originally Posted by alfredo capurso



...This thread is not intended for discussing different tunings or techniques, nor sequencies efficiency...


May i remind you that you redirected us from Toni´s thread. (Now really off until weekend)



I redirected you, Bernhard, since you sounded a bit confused about our practice.


alfredo
Re: CHAS PREPARATORY TUNING [Re: alfredo capurso] #2676787
09/21/17 02:46 PM
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Originally Posted by alfredo capurso
Originally Posted by P W Grey
Alfredo,

Yes, I would like you to try putting it into words. I'm not sure I can change habits that have been developed over 40 years (and that seem to work reasonably well) but it is always good to expand one's base of understanding.

Pwg


Hi,

the post above comes from this thread:

http://forum.pianoworld.com/ubbthreads.php/topics/2644274/11.html

I am posting my reply here in order to keep some information together.

We were talking about "pin setting", Peter. Perhaps you have already found some info in this thread or elsewhere, in any case I will expand further and.. keep my word.

My experience started on very very old pianos, they were ready for refurbishing and then I could only deal with very loose pins. There I needed to rely on some forces that could be left onto the pin, and the feeling that the foot of the pin was in the ideal position.

The principle is different then, you do not move the pin to find the correct pitch, you actually pull the string to "set the pin". Reading/feeling the occurring forces while you are pulling the string, allows you to set the pin and, as a result, get the pitch you wanted.

The execution is fairly straightforward, in the best case - nice pin-pin-block-string rendering - it is one move only CW, one move CCW.

You can start pulling the pin where you find it, or loose the pin CCW and zero old tensions.
Start pulling the string CW, feel the torsion and the bending taking place while you figure out where the spot is. That is all the information you need and you can now over-pull the string CW.

The latter move refers to a precise amount of forces that you will have read/felt - pin bending, torsion and rotation + string rendering - and that now you want to invert.

We may say that the above sequence is "tuning the pin", what comes next is "setting the pin-string system".

You go CCW, perhaps putting the hammer in a different angle, do not rush and consider that matter adjusts in time, release all the CW forces and "charge" or load the pin with CCW forces, enough to re-find the spot you heard before, making sure that the pin and the string are now pulling each other in opposite direction, making a tight-united system, where the pin is more willing to pull the string - check that a tiny CW force would raise the pitch - than ready to give.

As mentioned, make sure that about 3/10 points of force CW would sharpen the pitch, against about 7/10 points of CCW forces for lowering the pitch.

Let me know if that makes sense.

Kind regards,

a.c.
.


Actually, ......

this thread was dead two years when Alberto resurrected it with the above post which has nothing whatever to do with preparatory tuning.
Alberto has a habit of taking other people's posts entirely out of context in order to dredge up his own old CHAZ stuff. He tried that with me only a page or two before this when the thread was four years old. Is this against some forum rule or other?

Now he has the nerve to lie about it

Doesn't that make him some kind of control freak?

It's very rude and manipulative. Stop it!!!

When Alberto feels embarrassed or cornered, he switches to another of his threads often in this manner it's amusing to observe.

Re: CHAS PREPARATORY TUNING [Re: alfredo capurso] #2676798
09/21/17 03:42 PM
09/21/17 03:42 PM
Joined: Jul 2007
Posts: 1,404
Sicily - Italy
A
alfredo capurso Offline OP
1000 Post Club Member
alfredo capurso  Offline OP
1000 Post Club Member
A

Joined: Jul 2007
Posts: 1,404
Sicily - Italy

lol


alfredo
Re: CHAS PREPARATORY TUNING [Re: alfredo capurso] #2676893
09/21/17 10:30 PM
09/21/17 10:30 PM
Joined: May 2010
Posts: 2,504
Vancouver, Canada
DoelKees Offline

2000 Post Club Member
DoelKees  Offline

2000 Post Club Member

Joined: May 2010
Posts: 2,504
Vancouver, Canada
Originally Posted by alfredo capurso

lol
Haye Hinrichsen - University of Wurzburg - Revising the musical equal temperament (2015):
http://www.scielo.br/pdf/rbef/v38n1/1806-9126-rbef-38-01-S1806-11173812105.pdf
.

This paper however does seem to support the idea that the optimal stretch should sacrifice the sacred octave in favor of the balanced 12th and 15th, and is not devoid of meaningful content.

Nevertheless I have some doubts about their conclusion, which is that it will sound better to stretch the octave (in a no IH case), by an amount which is between pure 12ths (Stopper tuning) and CHAS (in-between 12th and 15th) but is close to CHAS.

1) They assume the "entropy" which is a mathematical formula hypothesized to be relevant to human hearing should be minimal. It is not clear that this "entropy" is in fact doing that.

2) They model the piano as a set of fundamental frequencies, plus partials (n=2,3,4,..) which have energy that decreases exponentially with n, with a parameter called lambda which they guess. Clearly this does not cover most of the piano, for example in the tenor/bass, the fundamental is actually weaker than the partials.

3) When they compute and minimize the "entropy" using the partials of all notes, the solution is standard ET, with a perfect octave.

4) They then argue that the peaks in the Fourier spectrum (sharp peaks at the partials) should be replaced by wider peaks, widened by another parameter called sigma which is in cents. Then it is claimed that this is somehow related to the human frequency discrimination, which they set at the "realistic" value of 5 cents. This does not make much sense to me, as 0.5 cent difference is audible not directly, but as a change in beat rate of intervals.

Finally they find values for the tweak parameters of their unrealistic piano sound model (lambda and sigma) such that the entropy minimum is no longer at the perfect octave. The value they find is larger than the CHAS ratio, but not by much.

Given the emphasis they place on making a connection with actual tuning practice, I cannot help thinking they looked for exactly those parameters that would allow them to derive the desired conclusion.

Nevertheless, it is an interesting article which does support the idea of stretching the octave beyond what is required if you buy their assumptions.

Kees

Re: CHAS PREPARATORY TUNING [Re: UnrightTooner] #2676936
09/22/17 07:39 AM
09/22/17 07:39 AM
Joined: Nov 2008
Posts: 6,018
Bradford County, PA
UnrightTooner Offline
6000 Post Club Member
UnrightTooner  Offline
6000 Post Club Member

Joined: Nov 2008
Posts: 6,018
Bradford County, PA
Originally Posted by UnrightTooner
Since C.H.A.S. isn't really about tuning a real piano, I don't think this link is really OT. Some of you will understand:



Cast of Characters:

Tar Baby: C.H.A.S.

Fox: Alfredo

Bear: Bernard

Rabbit: Amanda

The rest of us are in the audience.


Jeff Deutschle
Part-Time Tuner
Who taught the first chicken how to peck?
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