HT's

[Tom Cole]

Horace,

The art of tuning, then, is to divine the right tuning for the
performer/music/piano/hall. A challenging profession we have.

When you say that you used a variety of HTs, are you meaning Victorian
temperaments or earlier ones, too?

Tom

Horace Greeley wrote:
> 
> The "ideal" piano is transparent to the performer.  This is true whether it is
> used for private practice at home, for the church performance of the local
> MTA branch recitals, or at Carnegie Hall.  For me, as a technician who has
> _actively_ used a variety of HTs for many years in many settings, if the
> performer notices the temperament at all, it is not transparent enough.
> 
> That is to say, virtually any temperament can be made to work, so long as
> the octaves make sense, and the unisons are solid.  The temperament,
> per se, should merely provide some difficult-to-define psycho-acoustic
> element of freedom to/for the performer.  To the extent that the performer
> is/becomes aware of the temperament _as such_, the tuning is, for me,
> anyway, a failure.
>
-- 
Thomas A. Cole, RPT
Santa Cruz, CA