I have seen several being used, including one from Yamaha, the absolute top of the professional range according to the tuner. A great bargain that cost 2500 euros. Once he finished tuning the piano, in my opinion, it was still out of tune. Honestly, I don't think a piano will ever be successfully tuned with these technological gimmicks.
I don't quite agree; I believe it is not right to trust tuners alone, nor to rely solely on the ear. Especially middle-aged tuners would do well to have an electronic tuner with them to verify their own work, because they don't realize when their hearing is no longer perfect, resulting in an opening of the curve (their ear-based curve) at the extremes—the last and first octaves being more sharp and flat than they should be and fluctuating, meaning one note slightly sharp, another slightly flat, etc... it's fine to talk about inharmonicity, but only up to a certain point.
Furthermore, the most difficult interval (and it matters more than the curve in determining the success of a tuning) is the unison: the rule is that one must listen to the decay of the sound to eliminate oscillations caused by the famous beats; I don't quite agree with this either! I have never seen pianos with all perfect choruses, where it is sufficient to align the sound at decay to automatically obtain a round sound at the attack (when I tune, I listen to both the attack and the decay; it takes me half an hour longer, but in the end, the piano is tuned).
What matters is the result, but I would always bring a Tunelab with me (I find it unbeatable in the last octave of the piano since it analyzes only one partial and ignores all the noise generated by perfection).
I know almost all the tuners in Lombardy; those who satisfied me most overall did not tune by ear alone...
...others who tuned by ear obtained excellent results on the cantabile, but the extremes were imprecise (they resonate, especially the unmuted highs, and their malicious effect ends up compromising all the work and the piano does not vibrate in the correct manner).
I partially agree. In my opinion, tunelab doesn't work well at all for the high and low ends. While I agree, since it is scientific, that with age one tends to hear even higher and lower. I would use tunelab to split the octave well, since it does this job excellently, but I would abandon it immediately after because at 30 years old I can still hear very well, fortunately also thanks to the fact that I hate nightclubs and haven't lost a large part of my hair cells in there.
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Fra
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Reply 23 by Fra
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I, on the other hand, find some inconsistencies with the octave division; the fifths are never flat enough and the resulting tenths are harsh! I do find it very precise on the last notes (at least you can hear them; there are more expensive instruments that, like the last one, lose them)
Well Simone, your explanation is interesting, I also compliment you on your preparation. Frankly, I tell you that I am ignorant on the subject.... my knowledge only extends to hearing when my piano is unbearable to listen to, but I really hope that you start working on this soon and inform me of the progress made. Who knows, maybe one day we will have a tuner who can satisfy everyone a little, or at least one who can correct truly unbearable out-of-tunings and bring the tuning to parameters that are, let's say, "tolerable" for our hearing. I send you my best wishes.
dear Simone, thank you for the 36 competent and understandable explanations!!!
I am also booking with the others for your work because where I currently live having a tuner is practically impossible and I am not as bold as Gilda to implement do-it-yourself... thanks everyone!
Unfortunately, the tuner project did not follow through. But I will give you a nice gift anyway: for my thesis, I will have to program a piano sample library for Kontakt. I will sample Paolo's Steinway B with ultra-professional equipment. The pre-microphones are unique in the world and highly sought after specifically for classical music. In other words, I will attempt to create an ultra-simple library for the end user that is strongly oriented towards the classical piano. In my spare time, perhaps I will develop the entire project I had worked on and studied extensively for the tuner, having already derived some algorithms from it.
A small clarification: only the last of the following 4 recommends using a good external microphone, such as USB-powered condenser microphones; for the others, according to the manufacturers, integrated PC or smartphone microphones are sufficient to identify the peak.
In your opinion, which one is the best, if there even is a best one?
Because from their respective websites, obviously, they are all perfect and the absolute best.
Given all the considerations previously made in the discussion, I doubt there could be one clearly superior to the others since they all have the same operating principle, but I don't have sufficient experience and ability to say so irrefutably; I am just curious to understand more,,,
