L
littledog
New member
Yo Steve!
I had been giving your earlier post some thought the last couple of days, and I see your point. If I was doing a synth model of a piano with three oscillators per note (for midrange and treble), I might microscopically detune the three oscillators to try and simulate the inevitable differences between three strings.
But in the analog world, there is no reason to worry that in "accidently" achieving a perfect unison that you would somehow end up with the same result as stacking three exact duplicate oscillators.
My thinking is, that the other variables aside from intonation would still give you enough differences between the three strings to enable the desired "richness". These would include such factors as:
•Tiny differences in string thickness and composition.
•Differing amounts of dirt and grime build up
•The fact that each string occupies a unique position relative to the sounding board as a whole.
•Variations in height and hardness across the surface of the hammer itself as it strikes the three strings.
And probably a few other variables that don't occur to me at the moment. What do you think?
I had been giving your earlier post some thought the last couple of days, and I see your point. If I was doing a synth model of a piano with three oscillators per note (for midrange and treble), I might microscopically detune the three oscillators to try and simulate the inevitable differences between three strings.
But in the analog world, there is no reason to worry that in "accidently" achieving a perfect unison that you would somehow end up with the same result as stacking three exact duplicate oscillators.
My thinking is, that the other variables aside from intonation would still give you enough differences between the three strings to enable the desired "richness". These would include such factors as:
•Tiny differences in string thickness and composition.
•Differing amounts of dirt and grime build up
•The fact that each string occupies a unique position relative to the sounding board as a whole.
•Variations in height and hardness across the surface of the hammer itself as it strikes the three strings.
And probably a few other variables that don't occur to me at the moment. What do you think?
