Editing Inharmonicity (section)

===Sound quality of inharmonicity===
In 1943, Schuck and Young were the first scientists to measure the spectral inharmonicity in piano tones. They found that the spectral partials in piano tones run progressively sharp—that is to say, the lowest partials are sharpened the least and higher partials are progressively sharpened further.

Inharmonicity is not necessarily unpleasant. In 1962, research by Harvey Fletcher and his collaborators indicated that the spectral inharmonicity is important for tones to sound piano-like. They proposed that inharmonicity is responsible for the "warmth" property common to real piano tones.<ref>[http://www.acoustics.org/press/134th/galembo.htm Acoustical Society of America - Large grand and small upright pianos] {{webarchive|url=https://web.archive.org/web/20120209050929/http://www.acoustics.org/press/134th/galembo.htm |date=2012-02-09 }} by Alexander Galembo and 
Lola L. Cuddy<!-- Bot generated title -->]</ref>  According to their research [[synthesizer|synthesized piano tones]] sounded more natural when some inharmonicity was introduced.<ref>Matti A. Karjalainen (1999). [https://www.researchgate.net/publication/228587669_Audibility_of_inharmonicity_in_string_instrument_sounds_and_implications_to_digital_sound_synthesis "Audibility of Inharmonicity in String Instrument Sounds, and Implications to Digital Sound Systems"]</ref>  In general, electronic instruments that duplicate acoustic instruments must duplicate both the inharmonicity and the resulting [[stretched tuning]] of the original instruments.