Flutini is great, but I do not see not much use as a workshop aid on English & Duet systems, other than for health checking. Why? two reasons:
1. it only outputs in integers cents
2. These two systems play the same note in each direction of play, so you end up with a gross or averaged error for each note, add to this the en-harmonics of G#, Ab, or D# and Eb, you don't know which of the four reeds is in error
You can, however, show that an instrument is 'in tune' or if it shows errors A Concertini version would need to be able to manage a multiplicity of reeds playing the same note. Obviously there are doubled reeds on Anglos which will have the same problems
I think #1 could be easily dealt with. Tartini seems to offer 0.1cent resolution - I imagine Scott has rounded this to 1 cent in Flutini, so it should only be a matter of unrounding it.
I think #2(a) would just require adopting a strategy. On sweep one, just play push notes. Flutini doesn't mind waiting - you don't have to keep the notes coming. So play as many notes as will fit on one breath, open, and carry on. And go round the loop a number of times if you want more averaging of your bellows pressure.
So supposing you are exploring a 56 key English, you might give each note about one second, so it will take a minute to play them all (plus gasps-for-air-time). You might regard that as good enough for the initial test. Print that screen to save it. Then spend another minute doing the pulls. So in maybe three minutes all up, you have a printout of the pitch of all the notes on the instrument.
Now suppose you've done your tuning and put the instrument back together. And you have a very picky customer who's prepared to pay for proof. You might go around the push loop say 5 times, to average out bellow-pressure effects. Then the pull loop 5 times. In less than 15 minutes you've printed out a list of the (hopefully) finished product you can give the customer.
Your #2 part b, how to deal with enharmonic notes, would require some fiddling. Currently Flutini regards anything from Eb-50 cents to Eb+50 cents as Eb/D#. We would need to add more note bins to collect the data into. The D# bin would include anything from Eb-50cents to Eb-0.1cents. The Eb bin would collect anything from Eb+0 cents to Eb+50 cents. There is nothing tricky about doing this. Flutini currently has 12 bins, we just need to add the remainder and set the limits accordeoningly (as we say in the music industry).
I've had to do something similar to deal with a peculiarity of early 19th century flutes. They can have low notes so flat that low D, for example, crosses over into C# territory. Which gets very confusing, and completely inaccurate around the crossover as the notes vacillate between two bins. So I fiddled the bin separation points, creating a special case where low D is anywhere between -100 and 0 cents flat, above which it is an Eb, and so on. I stretched my measurement scale to match the situation. So my graph range is no longer +/-50 cents, but -100 cents to +50 cents. I did that in the RTTA Polygraph, as the language R it is written in is quite easy to understand, even for humans. That might be an option if we can't find anyone to rejig Flutini.
Edited by Terry McGee, 20 March 2014 - 06:18 PM.