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Re: inharmonicity paper etc.

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  • Jack
    ... Claro. A very reasonable theoretical suggestion, Carl. There are these branch points where I could move into experimental areas where I either work with
    Message 1 of 89 , Dec 1, 2008
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      --- In tuning@yahoogroups.com, "Carl Lumma" <carl@...> wrote:
      > --- In tuning@yahoogroups.com, "Jack" <gvr.jack@> wrote:
      > > And then that opens another can of worms. ... (No, I have no
      > > plans to go fretless any time soon.)

      > Don't forget the other option -- fanned frets. -Carl

      Claro. A very reasonable theoretical suggestion, Carl.
      There are these branch points where I could move into experimental
      areas where I either work with funky instruments that I have adapted
      myself, or expensive custom jobs like Paul Galbraith's fanned-fret 8
      string (if I wanted what I might consider to be a professional
      instrument). Were I experimentally driven, as I think many of the
      microtonalists are, then I would passionately pursue those avenues
      without regard for practical commercial application.

      My interest in playing "in tune" is bound by my limiting assumptions
      about commercial applicability. (Yeah, yeah, how bourgeois.) So for
      commercial and artistic marketability, I want to play "in tune" on a
      fairly conventional instrument. That's made a little more complex by
      NOT having the assumption that 12-ET is the best model. (Why I
      dislike playing with keyboard players generally, at least of the
      usual stripe.) We (my duo partner and I) have made major steps
      forward by finding better strings than the usual, and a nice matched
      set of work guitars that are very loud and sweet, for our un-
      amplified act in a hotel restaurant.

      Naturally I'm aware that the convention of 12 frets per octave is
      extremely limiting, particularly in the upper registers where there
      are potential "microtonal" (what a clumsy word, so conditioned by
      19th century 12-ET assumptions, no?) upper extensions to chords that
      are very attractive... but as I say, that's a whole 'nother can of
      worms. Maybe I should just have a chromatic set of jaw harps.

      I had a luthier set up one of my guitars a few years ago with his own
      system of "just intonation" as he conceived it. Great, but it would
      only play in D. Disaster otherwise. I'm doing much better with my own
      experiments. Talking to you guys on this list, and reading about all
      of the various other issues that you are into (many of which don't
      have direct application for me) is definitely feeding my own process,
      and I appreciate it.
    • Dave Keenan
      ... Hi Graham, I totally agree. The required nut adjustments are very small compared to the bridge adjustments and tend not to vary much between strings,
      Message 89 of 89 , Dec 11, 2008
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        --- In tuning@yahoogroups.com, "Graham Breed" <gbreed@...> wrote:
        > This has been on the list before. The basic theory (which I
        > confirmed) is that stopping a string stretches it by about the same
        > amount wherever you stretch it. So there will be a difference between
        > stopped and open strings. The answer, then, is to adjust the length
        > of open strings without affecting the fret placements. Hence you need
        > nut adjustments. But bridge adjustments are still good enough for
        > most people.

        Hi Graham,

        I totally agree. The required nut adjustments are very small compared
        to the bridge adjustments and tend not to vary much between strings,
        according to the classical guitar paper referred to here.
        http://www.byersguitars.com/research/intonation.html

        The bridge adjustments are set-backs of the order of 1 to 5 mm (steel
        string guitar). The nut adjustments are set-forths. I use a fixed 0.5
        mm nut setforth. I can only do fret placement within +- 0.25 mm
        anyway. That's about +- 0.7 c at the nut and +- 1.4 c at the octave fret.

        -- Dave Keenan
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