Essential Pianos Flex Pack Download BETTER

By incorporating Arteris FlexNoC interconnect IP into our development programs, we are able to streamline our overall design time. This solution also provides us with flexibility to create derivations of our offerings to quickly adapt to changing market needs.

You can do the same drill on an upright. The hammer should also be in the 1:30 position. The pressing of the handle will be away from you as in the grand and will push the pitch sharp rather than flat. Pulling the handle in a pure rotational motion (downward) will tend to flex the pin down toward the string and push the pitch to the flat side. Work with offsetting these two forces the same as in the grand and then getting the smallest incremental movement of the pin and an accompanying movement in pitch. When released, the pitch should remain where it was.

Essential Pianos Flex Pack Download

DOWNLOAD 🔥 https://geags.com/2y3fkg 🔥

After that try and tune so that you hear the slightest swell to the sharp side of the note being tuned and then settle it into place with a very slight amount of back pressure. The back pressure required should not be enough to actually turn the pin in the block, but just to put it in a state where it will be just fractionally flexed toward the string and held in stasis by the string tension itself.

What David Love has described is essentially the same method I use. Nice description of an exercise to learn that method, David! The benefits of the method are efficiency and solidity, accomplished at the same time. The pin AND string are moved the bare minimum, and you know where they are at all times. It is not an easy method to learn, but it pays benefits down the road that make it worth every bit of effort you expended.

A few additional details: The tuning hammer matters a lot, specifically how stiff it is, how little spring and flex is built into its design and construction. When there is spring and flex in the hammer, that springy element acts as stored energy, and shoots the pin past the target as you get close. This is particularly noticeable as you hone in on precise clean unisons. There are quite a few options out there for hammers. I like Fujan myself, but I'm sure many others work well. What does not work well is the design where the tuning head screws to the shaft, the shaft having a fairly small threaded end, and the threads are the main interface between the head and the shaft. The Jahn design where the head and shaft are one piece with ample bracing is one that works well. Nate Reyburn came up with a system where two surfaces lock together well. The Levitan hammer Pianotek sells (the cheaper one) seems to be well-designed. There are others, but you get the idea.

David's scenario is only one of a number of possibilities. In his scenario, There is low friction at the bearing points (string to capo and over the underfelt, or whatever the string needs to cross from the termination to the pin) and there is moderate torque/friction of the pin in the block. Since there is not much friction at the bearing point, leaning the pin toward the speaking length makes the pitch lower, but if there is significant friction, there might be no pitch change when you flex the pin. Similarly, if there is low friction between the pin and the block, there might not be enough twist of the pin before it moves to result in a pitch change.

So the problem is one of analyzing that particular string and tuning pin for the two frictional elements, and adapting your technique accordingly. If there is a lot of bearing friction, it might be necessary to flex the tuning pin away from the speaking length (pull up on a grand, push in on an upright) to get pitch to move in sync with pin movement, as one example. Sometimes the two frictional elements are really nicely balanced, and you don't need to do anything other than turn the pin, and the pitch starts to move just as the pin begins to move in the block. And sometimes you can get a nice mating of twist and friction by adjusting the angle of the hammer, say from 1 o'clock to 3 o'clock.

The question of doubts as to quality, with respect to what David Love has described: I tune essentially the same as David, going by his description, and also agree essentially with everything he has written in this thread. Well thought out, well presented, solid stuff. I thought briefly of doing a short video, but then I realized that the convenient way to do that would be to use the same devise I use to tune to take the video - that doesn't work too well. I'd have to bring in something else with decent enough sound quality to be worthwhile (my video cam with a decent mike), and jump through a few hoops to create a format of video to share. Sorry, too much work. I will, however, assert for what it's worth that David's claims are entirely in line with my experience. I also, like David, tune for several concert venues and finicky customers, have for years (including 27 years and counting in a music department). I'm not much of one for blowing my own horn, but I think I have a pretty solid reputation based on the quality I have delivered over the past 30 odd years. And I often tune a concert level tuning, where all strings have to be moved, within 45 minutes. And it is concert quality. And it holds. I know because I follow myself, next day, next week, a couple weeks later, etc. There is no guess work here, I know for a fact that my tunings are solid (with the caveat that there are always a few exceptions I can't really explain - I don't claim perfection, just a high level). And my unisons are crystal clear - some of them may become a little "fuzzy" after a day of concerto competition, but nothing that stands out.

I guess I will also add that many who write based on some small amount of experience using an ETD are really far too inexperienced to have the right to a solid opinion. It takes work to learn to use an ETD, any of them. Adjusting to a visual display, making muscle moves in response to visual cues, learning to interpret when the display is "jumpy," learning how to use the devise to generate a tuning that meets your own standards and tastes, etc., are a matter of a fair investment of time. Some people are pretty fast picking it up, others are very slow. Until you have learned the skills involved, you really can't judge how efficient the ETD might make you, nor can you judge the quality of results possible. It is very possible to tune very badly, and painfully slowly, using an ETD. Tuning continues to be a high level skill whether you use one or not. ETDs do not tune pianos. People do. The results depend more on the people and their skills.

Since we both tune unisons aurally I think I can comment. Your method differs from mine in one major way. What I hear is a consistent flexing of the pin to move the pitch above the target and then a settling back. If the pitch doesn't settle back with the unflexing of the pin to where you want it then you start the process again either by pushing it down or pulling it back up always with a fairly large move (relatively speaking for my goal) above the pitch followed by a settling back down. If the pitch is above the target then you push it down below the target, flex the pin to move the pitch above the target and then settle back down to the target. Now that may not be an accurate description but that is what I hear.

My method of hammer pin manipulation doesn't have nearly the pitch movement away from the target at any point (on average). In fact, the method I use allows me to tune more directly to the pitch target utilizing the basic method that I described earlier and also which Fred has described. The control of the flexing of the pin avoids the back and forth across the pitch movement until things finally settle in. There is more guesswork in your method--how much above the pitch do I need to go so that when I apply back pressure on the pin it drops to where I want it. I don't want nearly that much pitch movement away from the target but rather can feel the amount of movement in the pin which is directly reflected in the pitch movement itself. When things are moving well on a good piano with decent rendering, I feel like I can tune directly to the pitch and stop and it stays. There is some wiggle of the pin at the end just to insure that I have not left any unreleased torque in the pin (or that I leave the slightest bit of torque where I want it--this is another separate detail for another time), but that mostly is a check.

Stability, or instability, comes from one of two things, or both. Either the pin itself is left in a position where it is not stable, meaning some flexing remains that will change over time, or the string segments are left unequal. It's one of those two.

With respect to the string, the more you move the string away from the target pitch, the more likely you are to leave the the segments unequal because, in fact, you are introducing a wider range of tension variability in each of those segments. If you could manipulate the pin in such a way that there was no flexing (imagine a screw stringer) then if you wanted to raise the pitch you would simply turn the screw as you played the note and incrementally raise the pitch until you hit your target. Assuming that there wasn't a serious rendering problem you might over shoot or undershoot slightly based on your aural skills or the slight delay in string rendering but you would never have to take the pitch farther away from the target than your starting point. Therefore you never introduce more deviation in the string segments from the target pitch than existed in the first place.

The question, then, is can you move the pin in such a way that it behaves like a screw stringer and tune, in essence, directly to the pitch without introducing the back and forth pitch deviation that occurs with flag-polling. And the answer is yes you can in the manner the I described and that Fred corroborated by what amounts to a counter flexing of the pin in order to remove the flagpolling effect on the pitch.

So then the other issue is whether you can do that and consistently leave the pin in a state of equilibrium because you are introducing a flexing to offset the twisting--two different stresses on the pin. But since the pin is more closely connected to you via the tuning lever, a feel for the pin being in equilibrium is much easier to develop than if the string is in equilibrium, the string being once removed, like a distant cousin, as it were. ff782bc1db