Tunelab

I use Tunelab on my laptop, I don't know the differences with Tunelab for android..... If you say what you want to know I might be able to tell you how to do it on the version I use, it could be useful. Anyway, it is not complicated using it just for tuning.

I suppose the difference is the practicality of using a smartphone instead of a PC.

anyway, I would be curious to know how Tunelab works.

1- is it possible to download a free trial version?

2- is there an Italian manual?

Thanks

1 - It seems to me that there is a demo version on the official website

2 - Download from my server at this link... If you have any problems, feel free to ask

HansElzinga wrote:

On ‎14‎/‎11‎/‎2016 at 17:18, HansElzinga said:

I use Tunelab on my laptop, I don't know the differences with Tunelab for android..... If you say what you want to know I might be able to tell you how to do it on the version I use, it could be useful. Anyway, it's not complicated if you only use it for tuning.

hi, I saw that you use tunelab… I wanted to ask you if it is really necessary to measure the piano's inharmonicity before tuning it or if there are already preset frequency curves? also I don't understand how the software can calculate a piano's inharmonicity by letting it hear a few notes, at the moment when the piano is totally out of tune (unevenly)… thank you very much

Disharmony is defined as the frequency deviation of real partials from theoretical harmonics. Therefore, within certain limits, even with an out-of-tune piano, the discrepancy is negligible. I deliberately use the phrase "within certain limits" because if the piano is a tone flat, in that case it is not negligible, but when it comes to retuning a piano that has drifted, i.e., that has lost a few hertz compared to the reference frequency, in this case there are no problems.

From this definition, my doubts in the other post you published should also be clear to you...

thesimon wrote:

23 hours ago, thesimon said:

Disharmony is defined as the frequency deviation of real partials from theoretical harmonics. Therefore, within certain limits, even with an out-of-tune piano, the discrepancy is negligible. I deliberately use the phrase "within certain limits" because if the piano is a tone low, in that case it is not negligible, but when it comes to retuning a piano that has drifted, i.e., that has lost a few hertz compared to the reference frequency, in this case there are no problems.

From this definition, my doubts in the other post you published should also be clear to you...

very kind… that is exactly the problem.. I often find myself tuning very out-of-tune pianos, but the problem is not that they are a 1/2 tone or a tone low, which in terms of disharmony I don't think causes particular problems for software, since the ratio between the sounds remains regular… the problem is when the ratio itself is lost between the notes, to the extent that the octaves themselves are flat relative to each other by up to a quarter tone. It is in this case that I don't understand how software can adjust itself by having it hear certain reference notes beforehand..

Perhaps in this case it is sufficient to pre-tune to 440 Hz with an electronic tuner, measure the inharmonicity with software, and subsequently fine-tune.

I will try to respond without getting into the specifics of Tunelab's performance.

If we find ourselves with an instrument that is 1/2 tone flat, first of all, we must check the tightness of the pins, then the condition of the strings, and proceed as follows:

One will attempt to bring the instrument, even if crudely, at least a quarter tone above 440 (for pianos with strings in excellent condition, even 1/2 tone above) and wait a few days. This procedure, as well as returning it to 440, involves a risk, especially if it has been flat in pitch for a long time. At the points corresponding to the compression pins, the agraffes, and the cap bar, a "leveling fold" forms; if this fold changes position significantly, it constitutes a point of weakness. Because of this, in some cases, some strings might break. It is appropriate to tune by immediately restoring the tension for every note across all regions of the keyboard (all A's, all D's, all G's, etc.).

At a later stage, the tuning will be brought back, again crudely, to 440... or something slightly higher.

Finally, one will proceed with fine tuning.

As Simone has already argued well, many or almost all tuning instruments misread inharmonicity, especially in the bass and treble.

The physical nature of sounds must be considered. In the treble, we immediately hear the fundamental sound and cannot perceive the harmonics, which are weak and in a range inaudible to the human ear. In the bass, conversely, the fundamental sound almost does not exist and is reconstructed by our ear through those harmonic sounds (or rather partials) that are very rich. To use a funny example, the bass sound is like "the invisible man," who must wear all his clothes to recognize himself in the mirror. In the treble, we have humans in swimsuits... or sometimes without!!!!

In this complex scenario, the ear knows its business! It isn't exactly good at evaluating absolute sounds, but when it comes to the relationships between sounds, nothing beats it.

What matters to the ear is that the harmonics—which are then more or less imprecise partials—combine with each other in the different regions of the keyboard. Based on this, it chooses where to accept those beats, i.e., those descending and ascending differences, which are arbitrarily distributed in the equal tempered system. It likes hearing the major third and the tenth very much and tolerates slightly flat fifths, etc. Naturally, such excessive or "scarce" beats vary in speed depending on the areas of the keyboard.

Therefore, it is very difficult for a programmed instrument to accommodate the compensations due to inharmonicity, which obviously changes significantly from instrument to instrument. The ear, however, has a special tool, and not just one: "taste."