Wow tostado, a piano tuner! Man, that takes a real good ear and lots of training. I worked with one pianist who wasn’t much of a player (he grew up in the era of the British Prog Bands, hence couldn’t play rhythmically to save his life) but was a competent tuner, which is what he ended up doing as a career. Surprisingly, a lot of real good guitarists had a hard time tuning before the invention of the electronic tuner. They would get each individual string close, but chords would still sound sour. The only guy I played with (R.I.P.) who was great at tuning a guitar had perfect pitch, and playing with him spoiled me for most others. Pianos, with two strings per key and many more keys than the six strings of a standard guitar, are much, much harder to tune. Twelve-string guitars are notoriously impossible to keep tuned for very long, especially the thin-necked Rickenbackers. Jim McGuinn was always out of tune on live Byrds shows!
But yeah, real low frequencies don’t sound like a "note" being played. And a lot of criticism of subwoofers sounding fat, bloated, slow, etc., is more the result of "room boom" (dimension-related resonances/standing waves), the very low frequencies the sub(s)are playing exciting the room modes/nodes that aren’t excited without the sub(s). One of the benefits of dipole woofers and subs is that they excite fewer of those room dimensions (the length not the width, if firing down the length of the room), the result being less room boom. Harry Pearson long preferred the bass panels of the Magneplanar Tympani loudspeakers (a dipole, of course) for their very taut, lean bass and midbass, in preference to omnipole dynamic cone woofers in enclosures. Some fanatics still use the Tympani panels as woofers/subs, and GR Research in conjunction with Rythmik Audio offers an Open Baffle/Dipole sub that uses a pair of 12" woofers mounted in an "H-frame". State-of-the-Art bass!
