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Author Topic: Why 442 instead of 440 ?  (Read 1263 times)
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PremierMan
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« on: February 23, 2004, 11:30 AM »

I noticed most Vibes I've seen are in A442

when I'm gigging with the band, - won't they more than likely be in A440 ?

won't there be a difference ?

I've seen you can "special" order some to be tuned in 440

just looking for some input here

thanks for helping with all my questions
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jameswalker
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« Reply #1 on: February 23, 2004, 11:44 AM »

I noticed most Vibes I've seen are in A442

Yes.

Quote
when I'm gigging with the band, - won't they more than likely be in A440 ?

Yes.

Quote
won't there be a difference ?

Yes.

Quote
I've seen you can "special" order some to be tuned in 440

Yes.

Quote
just looking for some input here

Yes.

Oops, sorry I got into a bit of a rut there.  Smiley

For some reason, mallet instrument manufacturers have decided that A=442 is THE way to go for their "standard" tuning.  I think it has to do with orchestras in Europe cranking up their basic starting pitch to A=442, and then having American colleges and universities (the buyers of most of the instruments produced by these manufacturers, at least in terms of the US market) jump on the 442 bandwagon.

Of course, for us gigging vibists, who deal with pianos tuned to A=440, synths tuned to A=440, and bassists and guitarists who still generally tune to A=440, that leaves us out in the cold:  either special order A=440 bars (which can take six months), or ask the guitarists and bassists of the world to tune to 442 - which is fine, unless there's a pianist in the group.

Sometimes it's noticeable (unison lines with 440 piano and 442 vibes?  Yeesh!), sometimes not (when is the last time a horn player on your gig was in tune?), but still, we're getting the short end of the stick from manufacturers.  There's no reason why we should have to wait months longer to get a new instrument, or have to send the bars off to be retuned.  It's absurd, and it vexes me to no end.

...and I've got to go teach now, so I'm going to stop writing, because (as you can guess) there is an even longer version of this rant waiting to travel from my fingers into the keyboard into the computer...
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Jon E
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« Reply #2 on: February 23, 2004, 12:29 PM »

I have also bveen told that 442 will "cut through" better than 440.  That somehow this tiny difference in tuning will allow bells, xylophones, vibes, etc. seem more "shimmering" without being recognizably out of tune.

Maybe that's a crock, but it was what I was told in school (music/physics).
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PremierMan
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« Reply #3 on: February 23, 2004, 03:03 PM »

6 months waiting time !! YIKES

I looked at the Falls Creek site - they show $45 an octave tuning (although I dont know if you can have a 442 retuned to 440)

can you ?

http://www.marimbas.com/tuning.html
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jameswalker
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« Reply #4 on: February 23, 2004, 08:49 PM »

6 months waiting time !! YIKES

I looked at the Falls Creek site - they show $45 an octave tuning (although I dont know if you can have a 442 retuned to 440)

can you ?

Yep, that's one of those mysteries of bar acoustics - how you can take material away from a bar, and lower the pitch of the bar in the process.  I know it has to do with the shape of the bar and where exactly you take away the material, but still...I think it's a miracle.

IIRC, I've heard on other message boards from Bill Youhass, that tuning a bar from 442 to 440 is easier than the reverse.  Don't quote me on that, tho, I'm not 100% sure I'm remembering it correctly.

I have also bveen told that 442 will "cut through" better than 440.  That somehow this tiny difference in tuning will allow bells, xylophones, vibes, etc. seem more "shimmering" without being recognizably out of tune.

OK, that may be fine for the orchestras of the world (I'm not sure I buy what your teachers are saying in your music/physics class, but let's go with that for the sake of discussion), but for those of us trying to play unison with instruments tuned to 440 in the jazz and pop world, well...*I* think it's recognizably out of tune, FWIW...

I don't mind seeing instruments produced at 442 - I just wish that manufacturers would make 440 instruments just as readily available.  (Yet another reason why my next marimba and vibraphone purchases will be from builders other than Musser/Yamaha - if I've got to wait months for an instrument tuned to 440 anyway, I might as well go with an independent builder and get EXACTLY what I want!)
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« Reply #5 on: February 24, 2004, 11:10 AM »

Sounds like another argument for the Xylosynth or Malletkat
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jameswalker
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« Reply #6 on: February 24, 2004, 11:20 AM »

Sounds like another argument for the Xylosynth or Malletkat

Every once in a while, I'll suggest that sort of thing on a certain online forum dedicated to vibraphonists, just to tweak them a little bit - since most hardcore jazz vibists wouldn't be caught dead playing an electronic mallet instrument.  Smiley  Even tho I don't view the XS or the MK as a "100% substitute" for the acoustic vibraphone, I still like having some fun with the purists.

I'll mention the 440/442 issue, and the fact that I can comfortably fit my four-octave Xylosynth - as well as the rest of my MIDI rig - into a VW Beetle...

(OK, I'll stop there, before I drag this thread any further off topic.)  Wink
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sapazi
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« Reply #7 on: February 24, 2004, 12:33 PM »

When i first saw the topic, i thought i was on a musclecar site.  Oh well, back to my meds.
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AllanSpeers
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« Reply #8 on: September 29, 2004, 12:27 AM »

James,  here's a few thoughts from a non-mallet player:

1:  tuning 442 when the orchestra is 440 will make the vibes sound brighter, which might be beneficial.  (maybe)

2:  there is no way you will ever be perfectly in tune with the orchestra nor the piano. The Orchestra stretch-tunes their playing automatically, with their mouths or hands.  the piano is of course stretch-tuned to it's own harmonics.   those two alone can never be in tune with each other.  Now take the vibes:  I will (I assume) alos be stretched, but to a different extent than the piano.  (spinets are stretched much more than 9' grands)  Thus, even if both temperments matched exactly (and they wouldn't, as the temperment ratio is subjective and each tuner does it differently)  the next octave would virtually HAVE to be slightly out.



I think.
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Bart Elliott
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« Reply #9 on: September 29, 2004, 08:33 AM »

Orchestras (Europe mostly) tune to A=442. Tuning the mallet instruments to that same standard only makes sense.

From what I understand ... A=442 gives a lift to the music. The strings are usually tuned to this standard ... hence the need to tune a mallet instrument, which can not be spontaneously tuned, to that same pitch.

I used to own a Deagan Xylophone, c. 1908, which was tuned to A=440, but when I had it re-tuned, they moved it to the A=442 standard. I was then able to loan (rent) the instrument to the St. Louis Symphony for a period of time while I was completely my classical studios.

As far as retuning DOWN to A=440 ... it's not an easy task. It's much easier to remove wood/metal from the keyboard's bar to raise the pitch, but shaving to lower the pitch takes a bit more doing. There also comes a point where you can not work with the bar further ... and it has to be replaced.

My Deagan Xylophone, which I have sold by the way, had it's Middle C replace for the reason I mentioned above. Century Mallet in Chicago couldn't tune it further, so they got into the Deagan vault and found another bar FROM THE SAME AGE WOOD (believe it or not) and replaced the problem bar. The new bar's color didn't match for awhile because it had been kept from the elements ... and it was originally from 1908 stock. Amazing.
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DRWM
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« Reply #10 on: October 09, 2004, 01:27 AM »

I've been told that vibes are tuned to 442 so the vibrato effect will be emphasized.
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vanderplas
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« Reply #11 on: December 13, 2004, 01:54 PM »

Reasons why tuning to A442:

1. The standard pitch outside the US is A442. You can't use an A440 vibe outside the US.

2. Higher pitch does emphasize the vibe.

3. (the most important reason): The vibrato system pulls the pitch of the bar down. When the resonator is fully open, pitch of the resonator is equal to the bar. As soon as it starts closing, the pitch drops.

It is easy to lower pitch of the bar. Basically it's just removing material underneath at the right spot. DON'T DO THIS YOURSELF!!
Problem when raising pitch is that you need to remove material from the outer ends. When pitch only needs to raise a few cents (5cents at max), you can do with drilling a few holes on the bottom at the outer ends. However, when needing to raise more, the length has to be shortened. This means that the vibe bar needs to be re-anodized, and reanodizing means drop of pitch again.

BTW, by standard I am tuning my US vibes to A440, all other vibes to A442.  There is no longer waiting time (you have to wait a long time for my instruments anyway ;-) ) for alternative tunings.

Nico

PS Indeed there is a difference in stretch tuning for several instruments. My vibes are stretch tuned similar to a concert grand.
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PremierMan
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« Reply #12 on: December 15, 2004, 08:41 AM »

thanks again Nico

So how long does it general take for your shop to "stretch tune" an instrument from 442 to 440 ?
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vanderplas
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« Reply #13 on: December 16, 2004, 12:34 PM »

Depends on where you're located.
If you're in europe, it's done in 1-2 weeks.
When you're in the US, better send the bars to Fall Creek marimbas.
They also will take appr. 1-2 weeks.

Nico
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