Double String Unison Procedure

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6 Responses to “Double String Unison Procedure”

  1. Olek says:

    Well explained. In the end the goal as I understand it is just to deal with weinreich effect immediately, not wsiting for the unison to be finalized to have a second judgment on beat rates.

    This is another way than the more usual dtrip muting method, where beat rates are entered on the midfle string used then as a reference, while the doublets are done alternatively right and left tuning those “second strings”, “open, up” so to maintain the original pitch bypushing the coupling into secobd and 3 partials
    Of course the 3 strings can be and may be checked together unmuted at some point. But since you begin to tune doublets you beginto install the e unison dynamics, more or less long attack tone, projection toward more or lesd high psrtials (what is called “opening” the tone).
    I think that more than 90%*of the time the final pitch of 2 strings sounf a hair liwer than one string alone, be bit for psycho acoustical reasons as much as physical ones (more mass put in vibration).

    In any case learning to wirk from doublets is a first important step to begin to tune efgiciently, so I am for it.

    Then if experienced enough, one will avoid loiding the tone behavior and colorationby tuning the last string of a 3 doundong strings unison “tight” or “cliding” the previouly nicely opened tone (good clarity goid projection, no beating of course, wesretalking of something else.
    Pitch is fluctuating so we may tecognize inyervals activity and compare “beating” in a very small time frame, always the same at apoint the tone have stabilized but is not yet loosing strenght at a fast rate (importance of deeb/low neefling to maintain the lenght of the tone, the sustain)

    Best regards.

  2. Olek says:

    Sorry for all typos, please feel free to correct them, since some time I just cannot type correctly on that phone and the corrections are really… Limited
    So despite reading again I always see too much typos left.. Sorry again

  3. Olek says:

    Btw the goal is really to put the dtrings/pins in place asap, do un tuning one string, I would not do that it may suffice to infuce some instability
    Ideally I tune “definitively” then I may have to rise a bit more or afjust a dlipping due to new tendionning on bridge (it moves).

    If looking for temperament pitches I realky prefer to have them roughly installed on one string abd it dors not mean the fsu method cannot be used at that point (if you dee what I mean)

    As I wrote the main advantage is that you are yet dealing with tone coloration and dynamics so you can check the musicalresult in your intervals which is a good way to learn tuning for some people.

    Btw an octave is an unison, even a 5th can be considered an unison, asa 12th, but with some movement (tempering) not due to the extinction of sustain or unison dynamics.

    A way to “see” things 😉

  4. Cobrun Sells says:

    How much does the Weinreich effect affect the trichord when the 3rd string is matched to the 1st two strings?

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