Melodeon.net Forums

Please login or register.

Login with username, password and session length
Advanced search  

News:

Welcome to the new melodeon.net forum

Pages: 1 2 [3]   Go Down

Author Topic: Tuning Methodology- In the box or outside the box  (Read 853 times)

0 Members and 1 Guest are viewing this topic.

David Summers

  • Good talker
  • **
  • Online Online
  • Posts: 75
Re: Tuning Methodology- In the box or outside the box
« Reply #40 on: August 14, 2019, 09:28:48 AM »

approximation to just intonation
So each row was tuned to just intonation based on the tonic note in that diatonic scale? Presumably 5 limit?

Yes that would give issues cross rowing, definitely on a semi tone box, need to think a bit how bad on a fouth appart box.

Now on an instrument that only plays in one key, I can understand just intonation, but why on earth not do twelve equal tones on an instrument designed for different keys is beyond me ...

Edit: Just worked out what happens on a fouth appart DG box when tuned with 5 limit just intonation. There is only one duff note when cross rowing, and that is the E; the E on the D and G row are in an 81/80 resonace, that would sound grim .... If my maths is right that is almost a 22 cents difference ...
« Last Edit: August 14, 2019, 09:41:27 AM by David Summers »
Logged

blue eyed sailor

  • Melodeon renegade - partly reverted - Preciosa maniac
  • Respected Sage
  • ****
  • Offline Offline
  • Posts: 264
  • since folk process is running, take an active part
    • My Sound Cloud
Re: Tuning Methodology- In the box or outside the box
« Reply #41 on: August 14, 2019, 10:00:03 AM »

maybe 1/4 comma meantone would be worth considering then...
Logged
Hohners: 2x Preciosa Bb/Eb (tremolo / light swing) - Club IV Bb/Eb - Morino Club C/F
Presswood C/F - Pokerwork C - Verdi II (PA) - Lucia IV (PA) - Starlet (PA)

Weltmeister 509 G/C/F - Juwel (PA) -- Horch C/F (12 bass) -- Cantulia Bambi 26 (PA)
and: Castagnari Giordy G/C

be warned of my SC page, mainly concertina thus far

David Summers

  • Good talker
  • **
  • Online Online
  • Posts: 75
Re: Tuning Methodology- In the box or outside the box
« Reply #42 on: August 14, 2019, 03:52:15 PM »

maybe 1/4 comma meantone would be worth considering then...
Well its technically a syntonic comma  ;)

But to my mind once one gets this far - TET is the solution, at least then everything is equally bad, but by such a small margin that most people don't realise.

I can't imagine what you would do with a fretted instrument like a guitar on just intonation.

Edit: Oh cluck! Just discovered Theo having a go at me back in 2005
« Last Edit: August 14, 2019, 08:23:54 PM by David Summers »
Logged

Theo

  • Administrator
  • Hero Member
  • *****
  • Offline Offline
  • Posts: 11176
  • Hohner Club Too
    • The Box Place
Re: Tuning Methodology- In the box or outside the box
« Reply #43 on: August 14, 2019, 04:05:06 PM »


But to my mind once one gets this far - TET is the solution, at least then everything is equally bad, but by such a small margin that most people don't realise.

Until your ears have been opened to the full horror of major thirds in 12TET
Logged
Theo Gibb - Gateshead UK

Proprietor of The Box Place for melodeon and concertina sales and service.
Follow me on Twitter and Facebook for stock updates.

David Summers

  • Good talker
  • **
  • Online Online
  • Posts: 75
Re: Tuning Methodology- In the box or outside the box
« Reply #44 on: August 14, 2019, 04:24:16 PM »


But to my mind once one gets this far - TET is the solution, at least then everything is equally bad, but by such a small margin that most people don't realise.

Until your ears have been opened to the full horror of major thirds in 12TET
Well a 5/4 resonance sounds seriously flat to my ear! (such is my exposure to TET!)

I guess where this moves on from an academic discussion, is on instruments like bag pipes, that are keyed, and often just intonation. I have musical friends who refuse to listen to bagpipes becuase they are so far out of tune! And it makes it a bit of a mare for a piper to play with anyone else other than another piper in the same key :)
Logged

blue eyed sailor

  • Melodeon renegade - partly reverted - Preciosa maniac
  • Respected Sage
  • ****
  • Offline Offline
  • Posts: 264
  • since folk process is running, take an active part
    • My Sound Cloud
Re: Tuning Methodology- In the box or outside the box
« Reply #45 on: August 14, 2019, 04:37:34 PM »

Until your ears have been opened to the full horror of major thirds in 12TET

Yes indeed - fortunately an English concertina has, as you of course know, two enharmonic doublings in every octave, which are allowing to keep the "Wolf" (pun can't pass unnoticed here) at bay.

I really like meantone tuning for playing solo (only downside being the loss of an additional lower note on the left hand side; yes, still talking of an English concertina, I apoligize to the community).

Can anyone point to recordings of meantone-tempered melodeons?

Best wishes - Wolf
Logged
Hohners: 2x Preciosa Bb/Eb (tremolo / light swing) - Club IV Bb/Eb - Morino Club C/F
Presswood C/F - Pokerwork C - Verdi II (PA) - Lucia IV (PA) - Starlet (PA)

Weltmeister 509 G/C/F - Juwel (PA) -- Horch C/F (12 bass) -- Cantulia Bambi 26 (PA)
and: Castagnari Giordy G/C

be warned of my SC page, mainly concertina thus far
Pages: 1 2 [3]   Go Up
 


Melodeon.net - (c) Theo Gibb; Clive Williams 2010. The access and use of this website and forum featuring these terms and conditions constitutes your acceptance of these terms and conditions.