Piano Tuning Software

I searched for them for a long time but didn't find them, but even at $100 you can find very good things.

There are many for guitar, strange that no one has thought of them for the piano

By the way, I "administered" an application for tuning pf and organs to some guitarists: they let me know that the tuning turns out to be more precise and long-lasting.

Sergio wrote:

By the way, I "administered" an app for tuning pf and organs to some guitarists: they let me know that the tuning turns out to be more precise and long-lasting.

Regarding precision I might agree, regarding long-lasting I don't think it depends on the software but on the tuner's technique (I am referring to the pf).

At the moment, the only valid one is Verituner; you can also find it as an application for iPhone etc... (and it costs a fortune). In any case, the tuner's work is irreplaceable

Ludovica wrote:

as for durability, I don't think it depends on the software but on the tuner's technique (I am referring to the pf).

Giovanni wrote:

In any case, the tuner's work is irreplaceable

I agree, the problem is not tuning but making the tuning last...

Frank wrote:

I agree, the problem is not tuning but making the tuning last...

You have hit the nail on the head. Some electronic tuners are a marvel when it comes to tuning, but if you don't know how to stabilize the tuning pin (a practice that requires a lot of experience), the tunings won't last at all.

Simone is perfectly right.

While it is true that tuning stability depends on a series of factors including variations in humidity and temperature; we must also consider that the tuning of a grand piano belonging to a conservatory student who studies on average 5 hours a day will "last" less compared to an enthusiast who studies a few hours a week.

In any case, above all, the expertise of a good tuning technician is fundamental, as they will stabilize the pins and strings as best as possible.

Happy May to everyone!!

Pianoaccordatore wrote:

Anyway, at the top of everything, the expertise of a good tuning technician is fundamental to best stabilize the pins and strings.

Certainly, only an experienced tuner, whether or not they use electronic aids, is able to make a tuning last: sensitivity is also required to perceive how much resistance the pin offers during small rotations.

Ok Sergio, in your first post it seemed that the credit went to the computer medium

Good morning Ludovica, in my first post I was not talking about pf, I only stated that some guitarists have noticed improvements: they do not call tuners for their guitars.

Ciao, Sergio.

Sergio wrote:

Good morning Ludovica, in my first post I wasn't talking about pf, I only stated that some guitarists have noticed improvements: they don't call tuners for their guitars.

So they improved as "tuners"... because it also turned out to be more lasting, in fact you wrote:

"the tuning results to be more precise and lasting."

Anyway, we understood each other, which is the important thing

An excellent guitar tuner is also included in the standard Mac package (in Garageband). But, aside from accurately indicating frequencies or notes, what specific features should software dedicated to the piano have?

First of all, a great deal of accuracy. In the piano, every note is composed from the mid-lows to the highs by a chorus of three strings, as you already well know... With electronic tuners, one is tuned at a time, and when the other two strings are released, they must not beat. Moreover... Piano tuners must take into account inharmonicity. Something that chromatic guitar tuners do not do.

TheSimon wrote:

Piano tuners must take inharmonicity into account.

Do you mean temperament?

Mine, for example, tracks the tuning status of individual notes and over time one can understand, for example, if some string is going flat...

CromaDiBrera wrote:

Do you mean temperament?

No, disharmonicty is that variable that comes from the deviation of real strings from ideal ones; therefore, it is determined by the internal resistances of the material composing the strings. This is why, when tuning to 440, the A of the upper octave will not be 880Hz but slightly wider to overcome this problem. Disharmonicty is directly proportional to the cross-section of the string and inversely proportional to its length. In simpler terms, it is all the smaller the more the string resembles the ideal one (infinitely long and thin).

Regarding this topic, the general causes are better understood than the effects! which, on the other hand, are what is felt...

I often find myself having to discuss (and sometimes wanting to provide insights to help understand) this topic and I would like to know what you think of the following brief reasoning.

These disharmonies characterize the single instrument and its parts (together with the surrounding environment, naturally), making it unique.

The problem of the "correctness" of tuning is not a simple problem of pitches varying in some complex way for some given reason; otherwise, one could easily copy and "teach" the electronic tuner, and this, in my opinion, is the doubt that many have.

The difficulty, however, lies in the "perception" of the fundamentals and in the "perception" of the relationships between timbres (that is, between the various harmonics of different strings which are not exactly harmonics...), perception made complex by these disharmonies, to such an extent that it prevents or makes it very difficult and costly to "teach" the electronic tuner what the ear "hears"!

For example, the ear might perceive a fundamental that does not correspond exactly to the fundamental vibration of the string (one actually also has to be careful about thinking of the sound of the string as simply decomposed into a sum of vibrations...)

Temperament is then just a complication that is superimposed on these problems.

I am not very confident in my ability to count beats and therefore I would like to proceed as follows:

after tuning A5 to 440, I would move on to tuning A4 with zero beats, then I would "play" the A4 to my PC tuner which would indicate, for example, 219.8, having it calculate the difference in cents. I would then choose the most suitable calibration of the tuner for that octave, for example Equal Tempered Stretched 1.0 Cent, so that the electronic device takes into account the inharmonicity when dividing that octave.

Then I would tune everything else by ear for zero beats.

Using electronic aid only where it is convenient for me.

The big mistake? What do you think?