I don't know exactly how flat A = 398 is but it can't be very far off F+,
given that A = 392 would correspond to concert G.
I wonder if Anthony would agree therefore that since lots of the notes are
sharp, a good starting point would be to pull the reed out a fraction?
C
-Original
I don't know exactly how flat A = 398 is but it can't be very
far off F+,
Sorry, badly worded. I mean it can't be very far off an A that would give you
F+.
c
given that A = 392 would correspond to concert G.
I wonder if Anthony would agree therefore that since lots of
the notes are sharp,
Can one maker (which one?) have that much influence?
Possibly, I think. I didn't have a specific one in mind as I was primarily
speculating on the process (that's why I wrote a maker rather than one
maker, but didn't CR fairly recently mention someone down the road making
lots and lots of
Christopher Birch wrote recently:
I don't know exactly how flat A = 398 is but it can't be very far off
F+, given that A = 392 would correspond to concert G.
I wonder if Anthony would agree therefore that since lots of the notes
are sharp, a good starting point would be to pull
A compromise might be a pair of e's, one a true 6th above G, for playing in G;
another - a perfect fourth above the B, and keyed, for playing in E minor.
The low E might be harder to arrange practically, but may not be as critical
acoustically??
As the most prolific and also one of the best
blend their pipes
failry pleasantly at A=446.
Do you mean tuning your nominal G to the F you get on an equal temperament
tuner if you set it to A = 446?
Or do you mean tuning the nominal B to 446?
These two possibilities would yield different results. (a higher nominal G in
the second
A compromise might be a pair of e's, one a true 6th above G,
for playing in G;
another - a perfect fourth above the B, and keyed, for playing
in E minor.
Yes, this is what I meant by 8 (different) notes to the octave rather than just
seven.
The lower, keyed, high E would also sound better
And I've been telling people it is because all notes have got
gradually
sharper over the last 150 years, and that the Reid 'ur-pipes'
were made
when G was somewhere between where F and G are now. Have I been wrong
all this time?
This is probably an associated factor. My speculation about
Reid pipes were generally made sharper than the current F+;
close to modern F# in many cases, so Francis and Graham tell me.
John
-Original Message-
From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf Of
Dru Brooke-Taylor
Sent: 07 February 2011 11:39
To:
It always fascinates me how the tuning of things changes (I have a
concertina in high pitch).
For those (like me) not well versed in the mechanics and theory of things,
this makes good reading:
http://www.piano-tuners.org/history/pitch.html
(and also which locations not to attempt to play the
Chris, John, Dru others
In no particular order:
* I set my Korg DA 30 to 446 using the calibration button and take it
from there
* I've got a chanter in for overhaul at the moment and have just seen
the top B rise in pitch bt 20 cents by moving a plunger in from
On 7 Feb 2011, at 13:03, Gibbons, John wrote:
Reid pipes were generally made sharper than the current F+;
close to modern F# in many cases, so Francis and Graham tell me.
Yes, that's right. Or to be more precise, Reid pipes play most happily at F#
using (and insert italics here) the most
'It does have the unintended consequence of keeping off the fixed pitch
instruments,
which may or may not be an advantage, according respectively to taste or the
lack of it.'
Discuss...
-Original Message-
From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf Of
Hi Paul. I read that book, along with another one which argued that
equal temperament made Modern (post-modern?) Civilization the
greatest the world has ever known, or something like that. Sorry, I
don't remember the name of the book or its author. I didn't agree
with his premise or his thesis,
Hello Matt
Yep, it's a 7 key chanter so no F nats.
Also, it's a song and all of the singers I have backed (OK, there have
only been 3 in 40 years!) prefer that key.
And finally, as an instrumental it makes a loamishly
lovely springboard to dive into P B's P.
Cheers
Anthony
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