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Dirk’s Accordion Tuner V2.3
The unique possibilities of this tuner simplify and accelerate the tuning process considerably. The tuner
has a large range from E0 up to C9, a very high accuracy of less than 0.05 Hz (waves of longer than 20
seconds) and can measure to three reeds at the same time. Because of this the tuning of the accordion
can be measured without disabling reeds before opening the case. The real frequencies of the reeds
which are influenced by each other and by the case can be measured now. This way it is considerably
simpler and quicker to select the reed that deviates and needs attention. The tuner measures beatings
that arise because the reeds sound together and shows these in Cent or Hertz. Beatings cannot be
measured accurately enough by measuring the reeds separately, but by measuring them at the same
time it is accurate enough. See chapter 25 for an explanation concerning the accuracy of the tuner. The
measured beatings are compared to the beating list of the accordion concerned which indicates the
desired beating for each note. This beating list can be produced rapidly and simply using a graph in the
tuner.
The tuner can be extended with a module that can record and save all notes of the accordion quickly
and create a report afterwards. This report gives the error of each reed in an easy to read table. After
opening the accordion, the reeds which deviate too much can be corrected on the tuning table using the
values from the report. The reeds (that have a deviated frequency outside the case) will get the correct
frequency after being put back in the accordion. The report can be printed again afterwards and join the
accordion as a tuning report.
Also chords (three reeds) and octaves (two or three reeds in several octaves) can be measured by the
tuner, so the case does not need to be opened for these as well.
Beside the mentioned basic functions, the tuner has a lot of additional functions such as:
- increase the tuner to a full screen for a clear overview.
- freeze the screen to be able to examine the numbers and graphs well.
- play notes using the sound card.
- automatically or manually select the notes to measure.
- automatic correction of possible errors in the accuracy of the sound card.
- automatic reduction of undesirable context sounds and disturbances.
The tuner runs on a pc or laptop with a Windows operating system and works with both built in and
externally connected microphones.
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Table of contents
1. Dirk's Accordion Tuner .....................................................................................................................2
2. The trial version.................................................................................................................................4
3. Extension modules............................................................................................................................4
4. A number of important terms............................................................................................................5
5. Choice and placement of the microphone .......................................................................................7
6. The first use.......................................................................................................................................9
7. Tuning..............................................................................................................................................11
8. The input signal...............................................................................................................................16
9. The equalizer ..................................................................................................................................16
10. The detected note ...........................................................................................................................16
11. The frequency spectrum of the detected note...............................................................................17
12. The errors of the reeds ...................................................................................................................17
13. Manual selection of the note to tune ..............................................................................................18
14. Measuring long lasting notes..........................................................................................................18
15. Playing notes...................................................................................................................................19
16. Transpose .......................................................................................................................................19
17. Configure the frequency of the A4 ..................................................................................................19
18. Measuring chords ...........................................................................................................................20
19. Measuring octaves..........................................................................................................................21
20. Settings............................................................................................................................................23
21. Beating lists .....................................................................................................................................26
22. Tuning accordions...........................................................................................................................33
23. Tuning accordions with the module 'record and report' ................................................................34
24. Noise reduction and accuracy ........................................................................................................41
25. The accuracy of the tuner...............................................................................................................42
26. Hertz and Cent................................................................................................................................43
27. Beating ............................................................................................................................................44
28. The equal temperament .................................................................................................................45
29. An overview of the screens ............................................................................................................46
30. An overview of the buttons .............................................................................................................47
31. Shortcut keys and clicks .................................................................................................................48
32. Frequency table of the notes..........................................................................................................49
33. System requirements......................................................................................................................52
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3. Extension modules
The tuner can be extended with modules. These extension modules add extra functionality. At this
moment there is one extension module available. This module adds the possibility to record and save all
tones of the accordion quickly and generate a report. Check the Internet site for new extension modules:
http://www.dirksprojects.nl
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• Frequency
the number of waves per second of a tone (pitch).
• Sound
the range of waves that can be observed by the human ear.
• Tone
sound with a fixed pitch.
• Note
notation for a tone with a specific pitch and length.
• Scale
increasing or decreasing sequence of tones in a fixed order.
• Pitch
the perceived frequency of a tone. This is the fundamental frequency.
• Fundamental tone
the perceived pitch of a sound is that of the fundamental. The fundamental is the lowest tone of the
tones from which the sound has been built.
• Overtone
a tone in a sound with a higher frequency then the fundamental. The overtones of a sound are
multiples of the fundamental.
• Beating
the beating in sound which occurs when two tones with a small difference in pitch sound at the same
time.
• Interval
The difference in pitch between two notes.
• Semitone
the smallest musical interval that is used in western music. An octave exists out of twelve semitones.
In an equal temperament all semitones are equally large. a piano the interval between two
successive white keys is one semitone if there is no black key in between. If there is a black key in
between the white keys, then the interval between the two white keys is two semitones. The interval
between the white keys and the black one is then one semitone. The interval between a note and the
same sharp note (for example C and C#) is always one semitone.
• Octave
the difference between two tones of which the frequency of the second tone is twice as high as that of
the first.
1 Octave = 12 Semitones.
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• Tuning or temperament
the way the frequencies of the notes are chosen. In Western music the equal temperament is most
popular. Other temperaments are for example: the just intonation, the Pythagorean tuning, the mean
tone temperament, the well temperament and the 31 equal temperament.
• Chromatic scale
a chromatic scale is a scale that contains all twelve semitones of the octave:
c – c# – d – d# – e – f – f# – g – g# – a – a# – b (the white and black keys of a piano)
• Diatonic scale
a diatonic scale is a scale with half and whole-tone steps:
C major: c – d – e – f – g – a – b (the white keys on a piano or the buttons on a diatonic harmonica)
C minor: c – d – eb – f – g – ab – bb
• Bisonoric
the term 'bisonoric' is used to indicate to that a key of an accordion-like instrument generates a
different tone when closing or opening the bellows. Examples: bandoneón, squeeze box, harmonica.
• Hertz
unit for frequency.
1 Hz = 1 wave per second.
• Cent
logarithmic unit for the difference in pitch with respect to a tone in the scale.
1200 Cent = 1 Octave.
100 Cent = the distance between 2 successive semitones in an equal temperament.
• Frequency spectrum
all frequencies that occur in a sound. The frequency spectrum can be presented in the form of a
graph.
• Tuning table
a work table with all kinds of supplies for tuning the reeds of an accordion.
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Dynamic or condenser
Microphones can roughly be divided in two groups: dynamic microphones and condenser microphones.
More types exist (electret, c-ducer, pzm, crystal, piëzo), but they are a little used.
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A dynamic microphone exists of a membrane which is placed in a magnetic field. Sound lets the
membrane vibrate in the magnetic field as a result of which an electric voltage is generated. This type of
microphone can be connected without a preamplifier (and therefore also without a power supply) directly
to a sound card and is generally equipped with a so-called Jack plug.
A condenser microphone exists of a conductive membrane which is placed near a fixed, also
conductive, plate. Because of this a condenser is created of which the capacity is dependant of the
position of the membrane. Sound lets the membrane vibrate as a result of which the capacity of the
condenser vibrates as well. By introducing an electric voltage to the condenser, its capacity, and
therefore the sound signal, can be measured. This voltage is called the phantom voltage for which a
special preamplifier is necessary. This type of microphone cannot be connected direct to the sound card
and is generally equipped with a so-called XLR plug.
The dynamic microphone is cheap and can be connected to the sound card directly. The condenser
microphone is expensive and needs an expensive preamplifier with phantom power. The better quality
of the condenser microphone does not improve the accuracy of the tuner. The tuner works very well
with both types but for aforesaid reasons the dynamic microphone is preferred.
Digital effects
Some microphones come with software (so-called drivers) that can modify the sound signal by means of
digital effects. These are effects such as echoes, hum filters, stereo enhancement, direction sensitivity
and noise suppression. These effects deform the measured sound signal as a result of which the tuner
can not function well. These effects must be disabled in the software of the microphone. The
microphone settings 'boost', 'sensitivity', 'volume', 'gain' and 'balance' are no problem.
Conclusion
In practice a simple dynamic microphone that is often provided with the sound card proves to work well.
The frequency range of such a cheap microphone is in most cases not known. Especially for the lower
tones, a qualitative better dynamic microphone can give better results. The much more expensive
condenser microphones are usable, but don't give a better result. Digital effects in the microphone
software must be disabled.
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Tool tips
By hovering above a button or a window of the tuner with the mouse pointer for a short time, a so-called
tool tip is shown. A tool tip is a small text box with explanation about the button or the window.
The left part of the configuration screen above is important for selecting and configuring the sound input.
At 'select the recording device' you select the sound card. The different sound inputs of the selected
sound card are enumerated at 'select the sound input in the recording device'. Here you select the
sound input to use.
The sensitivity of the sound input is configured with the slider 'Sensitivity'. The current signal of the
selected sound input is shown in the graph at the bottom. The tuner works best when the input signal is
as strong as possible, but to prevent distortion of the signal it should not reach the top or the bottom of
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the graph. The signal is too strong then and the functioning of the tuner will be influenced negatively.
The strength of the signal can be reduced by moving the 'Sensitivity' slider to the left. If a microphone is
selected and the signal is too weak, the check mark 'Microphone boost' can be set to amplify the signal
more.
The balance of a stereo sound input is configured with the 'Balance' slider. In most cases the balance
will have will be set to the middle position.
The button 'Windows Recording Control for the selected device' opens the sound input configuration
screen of Windows. This screen is normally not necessary.
A 50 or 60Hz hum in the sound signal can be filtered out by setting the check mark in front of the 'hum
filters'. Such a hum is generally caused by the power supply of the computer that is picked up by the
microphone. The tuner can detect the hum (when the hum filters are disabled) as a G1 (49Hz), a A#1
(58,27Hz) or a B1 (61,74Hz).
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7. Tuning
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The errors of the measured reeds are also shown by the tuner by means of moving red needles. These
errors are calculated with respect to the exact frequency from the scale. The scale of the gauge runs
from 50 Cent too low to 50 Cent too high. This is the range of one semitone. This way the reeds must be
tuned so that the measured errors are equal to the desired beatings. The errors cannot be calculated
here with respect to the desired beatings from the beating list. The absolute frequencies of the
measured reeds can be shown in text boxes (in Hertz). With the 'Freq' button at the bottom of the tuner
these boxes can be turned on and off.
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9. The equalizer
The tuner converts the input signal from a time signal to a frequency signal. The equalizer shows the
strength of the measured notes (from E0 up to C9) graphically. Each vertical blue bar reflects the
strength of the note concerned. How stronger the note in the measured signal how higher the bar. If one
of the bars becomes too strong to fit in its window, then the bars is not shown any stronger so that it will
always fit in its window. In this case all notes are shown less strongly so that the note strengths with
respect to each other are still correct. In this window also the overtones present in the input sound are
visible. The tuner does use these. The strengths of the background sounds are represented by a small
horizontal green line. If the blue bar reaches the green line then the tuner recognizes that note as a
foreground sound. The tuner selects the note to tune from the foreground sound. The selected note is
marked by a dark green background. When tuning chords or octaves several notes are selected.
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Manual selection of the note to tune can be used (among other things) in the following situations:
- In the automatic selection mode the tuner selects the fundamental of the input sound. In manual
selection mode it is possible to measure one of the other tones (for example an overtone).
- In manual selection mode the tuner reacts more sensitively as a result of which it becomes possible
to measure weaker tones.
- In the settings screen (Menu - Settings) it can be configured that the tuner must measure
continuously, in the manual selection mode, also if there is no foreground sound present. This way
long lasting sounds can be measured.
- If many disturbing background sounds are present in the automatic selection mode, it can occur that
the tuner selects the wrong note now and then.
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15. Playing notes
In manual selection mode the tuner can play notes using the sound card. By clicking on the 'Sound'
button the selected note is played for ten seconds. The tuner corrects the frequency of the playing note
by means of the calibration which is carried out at start up. Because of this the playing note is not
dependent on the accuracy of the sound card. The generated sound wave is sine shaped. Sound
volume is strongly dependant on the pitch and the frequency characterization of the used speakers.
Without a bass speaker the lower tones (below the C3) can generally not be heard at all.
The playing note can be used to check the tuning 'by ear' or to find the selected note on the accordion
quickly. It is also a quick test to check if the tuner is functioning.
16. Transpose
To tune your instrument in another tone then the standard C, you can use the buttons '- Trans +' in the
bottom of the tuner. With these buttons the tuning can be transposed to another tone. In the bottom of
the note screen it is indicated where the C of the instrument is transposed to. 'C => C#'' means that
when a C# is measured this is shown in the tuner as a C. All other tones are transposed proportionally.
The transpose function only works when measuring single notes and not when measuring chords or
octaves.
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If notes are recorded with the 'Record' button then it is not possible to modify the frequency of the A4. In
order to be able to compare the recorded notes it is necessary that the A4 frequency stays the same.
The tuner selects the three notes of the chord from the input sound and marks these in the equalizer
window with a dark green background. The name of the chord is shown in the note window. The
frequency spectrum window is subdivided into three parts so that the frequency spectra of all three
notes can be shown. See chapter 9 for an explanation about the equalizer window. See chapter 11 for
an explanation about the frequency spectrum window.
The measured errors of the three reeds are shown numerically and with three red needles. The name of
the note from the chord is shown in dark green together with the concerning numerical errors. The
errors are calculated with respect to the exact frequency from the scale. The scale of the windows with
the red needles runs from 30 Cent too low to 30 Cent too high. The absolute frequencies of the
measured reeds can be shown in text boxes (in hertz). The 'Freq' button at the bottom of the tuner turns
these boxes on and off.
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With the 'Reeds' button in the bottom of the tuner it is configured if 2 or 3 notes are measured. The
configured number of notes is shown in the bottom right corner of the frequency spectrum window. The
tuner selects the notes in the successive octaves from the input sound and marks these in the equalizer
window with a dark green background. The name of the note and the octave number of the lowest note
is shown in the note window. The frequency spectrum window is subdivided into three parts so that the
frequency spectra of three notes can be shown. See chapter 9 for an explanation about the equalizer
window. See chapter 11 for an explanation about the frequency spectrum window.
The measured errors of the reeds are shown numerically and with the red needles. The name of the
note and its octave number is shown in dark green together with the concerning numerical errors. The
errors are calculated with respect to the exact frequency from the scale. The scale of the windows with
the red needles runs from 30 Cent too low to 30 Cent too high. The absolute frequencies of the
measured reeds can be shown in text boxes (in Hertz). The 'Freq' button at the bottom of the tuner turns
these boxes on and off.
With notes in several octaves, the beating that occurs between the overtones of the lower octaves and
the higher octaves can be heard. This beating is measured by the tuner and is shown in hertz or in
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Cent. The 'Hz/Cent' button in the top of the tuner changes between Hertz and Cent. In the case of Cent,
the beating is calculated with respect to the higher octave.
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20. Settings
The settings screen can be opened by clicking on the 'Menu' button at the bottom of the tuner. A menu
will appear in the top left corner of the tuner in which the option 'Settings…' must be chosen. The
settings screen can also be opened by clicking on the window with the input signal in the top left of the
tuner.
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A component of Windows Mixers is 'Windows Recording Control'. This is the place in Windows where
the sound input is selected and configured. The settings screen of the tuner does the same as a result
of which the Windows settings are not necessary. By clicking on the 'Windows Recording Control for the
selected device' button, the Windows settings screen for the selected sound card is opened.
1. 'Display error values with respect to the straight pitch from the scale'.
With this option the deviation of the reed is calculated with respect to the exact frequency of the
note in the scale. This means that, during tuning, the errors shown by the tuner must become equal
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to the desired beatings.
2. 'Display error values with respect to the desired pitch from the beating list'.
With this option the deviation of the reed is calculated with respect to the desired value from the
beating list. This means that, during tuning, the errors shown by the tuner must become zero.
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The measured errors with respect to the desired value from the beating list
In the example below the tuner shows the measured errors with respect to the desired deviation from
the beating list. The tuner takes the desired deviations for the reeds of the note to tune from the beating
list and shows these in dark green, right below the white value of the measured error of the concerning
reed. The desired deviation from the beating list for reed 1 is in this case -14.9 Cent. The white value
+2.0 Cent indicates that the reed is still 2.0 Cent too high. The deviation with respect to the exact value
from the scale is therefore -14.9 + 2.0 = -12.9 Cent. The red needles at the bottom always give the
errors of the reeds with respect to the exact value from the scale. The left red needle indeed indicates
approximately -12.9 Cent. This way a reed has the desired value if the white measured value indicates
zero. This applies for each reed and for each note.
The measured beatings with respect to the desired beating from the beating list
The deviation of a reed is allowed to be a view Cent. The human ear is not able to observe this. The
beating between two reeds is however observed much more accurate. For this reason the distance
between the pitches of two reeds must be tuned more accurate then the separate reeds. If the errors of
both reeds are equally too high or too low, then the beating nevertheless is good. The tuner can
measure the deviation of the beating and this value can be used to tune the reeds.
In the example below the tuner shows the measured errors with respect to the desired deviation from
the beating list. The tuner takes the desired beating between the reeds of the note to tune from the
beating list and shows these in dark green, right below the white value of the measured beating error of
the concerning reeds. The desired beating between reed 1 and reed 2 from the beating list is in this
case 2.36 Hertz. The white value -1.04 Hertz indicates that the measured beating is still 1.04 Hertz too
low. The text boxes at the bottom near the red needles show the absolute frequencies of the measured
reeds in Hertz. The difference between the left two frequencies is 260.89 - 259.58 = 1.31 Hertz. This is
indeed 1.04 Hertz (2.36 – 1.31) too low. This way the beating has the desired value if the white
measured value indicates zero.
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Beating lists can simply be created with the tuner using a table. Only a couple of beating values need to
be filled in. In the beating list below all notes (E0 up to C9) are present. The desired beatings of a
number of notes must be filled in to the 'Btng' column. The value can be filled in by clicking on the
desired line in the table and using the keyboard to type the value. The value can be changed by clicking
on the concerning value and pressing 'Enter'. The remaining columns 'Rd 1', 'Rd 2' and 'Rd 3' are
automatically calculated and filled in by means of the 'Btng' column. The missing beating values,
however, are calculated (interpolated and extrapolated) by means of the notes which are filled in.
Whether these interpolations and extrapolations should be calculated or not can be configured with the
three check marks in the middle at the top of the screen. Which of the three reeds that should be tuned
on the exact value from the scale (deviation = 0) can be chosen in the middle at the bottom of the
screen. The beating list can be filled in Cent or in Hertz. This can be configured in the bottom left corner
of the screen. See chapter 26 for an explanation about Cent and Hertz.
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By clicking on the 'View in Cent' button, the graphical overview is shown in Cent instead of in Hertz. The
beating values do not change because of this, but the lines in the graph look differently because the
values in Cent are relative with respect to the pitches of the notes concerned. A screenshot of this is
shown below. If the beating list is filled in Cent then this button changes to 'View in Hertz' and its
function is inverted.
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through the recorded deviations as well as possible. See chapter 23 for an explanation about recording
the notes.
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23. Tuning accordions with the module 'record and report'
The tuner can be extended with a module that can quickly record all the notes of the accordion and
generate a report from that. This report gives the errors of all reeds in a conveniently formatted table.
After opening the accordion, the reeds that differ too much can be corrected on the tuning table using
the errors from the report. The reeds (that have a deviated pitch outside the case) will have the right
pitch after putting them back into the accordion. The report can be generated and printed again
afterwards to go with the accordion as the tuning report. See chapter 22 for an explanation about tuning
an accordion. With the module 'record and report' the possibility is given to create (unknown) beating
lists of existing accordions. See chapter 21 for an explanation about producing beating lists.
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Stop recording
If this screen with the recorded tuning is closed with the red cross then the tuner will continue recording.
Recording is stopped if there are no recorded notes left. All recorded notes are removed at once by
pressing the button 'Clear'. If this screen with the recorded tuning is closed afterwards then the tuner
stops recording.
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frequency outside the case will get the correct frequency after being put back into the accordion. The
report can be generated again afterwards and be joined with the accordion as its tuning report. The
screen with which a tuning report can be created, is opened by pressing the button 'Report…'. See
chapter 22 for an explanation about tuning an accordion.
A tuning report can be created with the screen below. The information that will be placed in the report in
addition to the measured errors and the beatings must be filled in here. Company information such as
name, address and place of residence of the tuner can be entered in the text box 'Company info'. The
website of the tuner (URL) can be entered in the text box 'Company website'. To test the URL, the
website can be opened by pressing the button 'Go'. The company's logo can be loaded with the button
'Load logo'. The following formats are supported: bmp, gif, jpg and wmf. The date that comes on the
report can be changed with 'Report date'. If all information is entered, the tuning report can be created
with the button 'Create tuning report'.
The tuning report is stored as an XML file. With the screen below the path is chosen, the file name is
entered and the file is stored with the button 'Save'. An XSL file is also stored in the same path as the
XML file. This XSL file is necessary to be able to view the tuning report (the XML file) with an Internet
browser. Take care that both files remain together if the tuning report is copied to another location.
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Background sounds
The tuner measures background sounds and determines their pitch and volume. The strength of
background noise is indicated in the tuner with a horizontal green line per note. Long lasting sounds are
considered as background sounds. As soon as a note (one of the blue bars) reaches out of the
background sounds then the tuner can select this note to be measured. In case of an extreme amount
of background sounds it is possible to enable the option 'Enh. Noise reduction' in the settings screen
(Menu - Settings…). Background sounds are then extra reduced.
50 or 60 Hz hum
The 50 or 60 Hertz hum which is frequently produced by the power supply of the computer is filtered out
by the tuner automatically. If an extreme amount of this type of hum is picked up by the microphone, a
so-called 'hum filter' can be enabled in the configuration screen (Menu - Settings…). The tones nearby
50 or 60 Hertz are then extra reduced.
Automatic sensitivity
The sound volume of the reed to measure that is received by the tuner depends on the following factors:
1. The sound volume produced by the reed.
2. The distance from the reed to the microphone.
3. Obstacles between the reed and the microphone.
4. The sensitivity of the microphone.
5. The sensitivity of the sound card.
6. The Windows volume settings for the microphone input.
To make the tuner work under all circumstances, the incoming signal is amplified to a standard level
automatically.
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25. The accuracy of the tuner
Automatic calibration
The tuner uses the sound card for its measurements. To compensate possible errors in the sound card,
the tuner carries out an automatic calibration. Manual calibration such as those often possible on
conventional tuners (with a screw for example), is not necessary. Because of this the measurements of
the tuner are always accurate enough.
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Hertz
The pitch of such a tone is expressed in Hertz: the number of waves per second. In the figure above two
waves are shown.
Cent
The notes in the scale (equal temperament) increase in frequency. Every octave exists of 12 notes
(semitones) and corresponds to a doubling in frequency. The A4 is 440 Hz and the A5 880 Hz. The
frequency range (width) of a note is therefore larger if the pitch is higher. The A4 runs from 428 up to
453 HZ and the A5 runs from 855 up to 906 Hz. The width of a semitone is by definition (always) 100
Cent.
If the frequency difference (f2 - f1 in Hertz) increases linearly then the difference in Cent increases
logarithmic.
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27. Beating
Beating occurs when two tones with a small pitch difference are played at the same time. The waves of
both tones then add up and influence each other. At some moments they amplify each other and at
other moments they weaken each other. In the figure below, two tones (f1 and f2) with a small
frequency difference are shown. In the bottom wave both tones are added up (f1 + f2). The occurring
beating by the alternating amplifying and weakening of the combined signal is clearly visible. The
frequency of the beating is exactly equal to the difference of the two tones (f2 - f1).
Beating of octaves
When two tones that lie approximately an octave apart from each other are played at the same time
beating can also occur. In that case beating occurs from the addition of the higher octave and the first
overtone of the lower octave. These are again, just like with 'ordinary beating', two frequencies which lie
near at each other.
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An octave is divided into 12 'proportionally increasing' distances. The ratio of the frequencies of two
successive semitones is always the same (approximately 1.0594631). Because of this, all intervals
(second, third, fourth, fifth, sixth, seventh), except the octave, deviate from the just tuning. They cause
beating. All equally named intervals sound equally false (they beat). The advantage of this tuning is that
it remains the same when switched to another tone type (a number of semitones higher or lower), and it
is therefore not needed to tune the instrument differently.
Below an overview is given of the intervals and the differences of the equal and the just temperament.
The just temperament is the way to construct a scale where the frequency ratios are simple integers.
This produces music which is experienced as pure (not false).
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- Hz / Cent - Switch the beating screens (7) between Hertz and Cent. See chapter 7.
- Record - Start recording multiple notes, open the report screen. See chapter 23.
- Sound - Play the selected note. See chapter 15.
- Octave - Increase or decrease the selected note by one octave. See chapter 13.
- Note - Increase or decrease the selected note by one semi tone. See chapter 13.
- Auto - Switch between automatic and manual detection. See chapter 13.
- + - Increase the frequency of the A4. See chapter 17.
- - - Decrease the frequency of the A4. See chapter 17.
- Menu - Open the menu with extra functions in the upper left corner of the tuner.
- Octaves - Measure octaves. See chapter 19.
- Chords - Measure chords. See chapter 18.
- Reeds - Configure the number of reeds to measure. See chapter 7.
- Freq - Turn the three little frequency screens in the bottom on or off.
- Trans - Transpose. See chapter 16.
- Freeze - Freeze the Tuner. See chapter 7.
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Clicks on screens
1. Click on the input signal screen to open the settings screen. See chapter 20.
2. Click on a column in the equalizer to select a note in manual selection mode. See chapter 13.
3. Click on the name of the beating list to open the screen where beating lists can be created, loaded
and edited. See chapter 21.
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Semitone Note Note Note frequency Note width Accuracy
number name octave (Hz) (Hz) (Cent)
88 E 7 2637,0204553 152,4049908 0,0328
89 F 7 2793,8258515 161,4674632 0,0310
90 F# 7 2959,9553817 171,0688182 0,0292
91 G 7 3135,9634879 181,2410995 0,0276
92 G# 7 3322,4375806 192,0182561 0,0260
93 A 7 3520,0000000 203,4362558 0,0246
94 A# 7 3729,3100921 215,5332050 0,0232
95 B 7 3951,0664100 228,3494763 0,0219
96 C 8 4186,0090448 241,9278428 0,0207
97 C# 8 4434,9220956 256,3136209 0,0195
98 D 8 4698,6362867 271,5548220 0,0184
99 D# 8 4978,0317396 287,7023120 0,0174
100 E 8 5274,0409106 304,8099817 0,0164
101 F 8 5587,6517029 322,9349264 0,0155
102 F# 8 5919,9107634 342,1376364 0,0146
103 G 8 6271,9269757 362,4821989 0,0138
104 G# 8 6644,8751613 384,0365121 0,0130
105 A 8 7040,0000000 406,8725115 0,0123
106 A# 8 7458,6201843 431,0664100 0,0116
107 B 8 7902,1328201 456,6989527 0,0109
108 C 9 8372,0180896 483,8556856 0,0103
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