Fwd: ebvt offsets found (from Jason Kanter)

[Billbrpt@AOL.COM]

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List,

Jason Kanter has done some very excellent work both with finding true, 
workable "correction figures" for my Equal Beating Victorian Temperament 
(EBVT) and making a comprehensive and easily readable graph for it.  If he 
makes the same kind of graph for some other commonly used temperaments, he 
will have done very excellent and valuable work for the tuning profession.

Below are his raw figures.  In programming your ETD, just round off as would 
be appropriate.  Still, as Jason noted, he could not address the unique but 
very *human* way in which I stretch the octaves that no computer can yet 
handle.  However, if you program you ETD, you will be close and you'll get a 
good tuning.  If you want to tweak your octaves to get the exact sound I do, 
it will be a simple matter to do that aurally once you've followed the curve 
the ETD has produced.

Just see my website for the page on "How to Tune Tempered Octaves".  And as 
always, see it for the way to tune the EBVT aurally.  Even that page needs to 
be updated.  I have gone to tuning the initial F3-A3 interval at 6 beats per 
second, then tuning a pure F3-C4 5th, an F3-F4 4:2 octave which creates a 
pure C4-F4 4th, then filling in the Bb3 which will be a pure 4th to F3 and a 
pure 5th to F4.  When the F3-Bb3-C4-F4 are all played together, there should 
be a pure, beatless sound.  This provides for a certain aspect of crystal 
pure clarity which can be found in no other historically documented Victorian 
era temperament nor in any other contemporary mild, Well Tempered Tuning.

Furthermore, Jason noted that when this temperament is tuned correctly, the 
C3-E3-G3 triad will sound much purer than it really is.  The C3-E3 3rd beats 
at 3 beats per second, the E3-G3 5th beats at 6 beats per second.  This is an 
example of what is known as *Proportionate Beating*.  In this case, for every 
1 beat, there are *exactly* 2 more.  In other cases there can be 2:3 and so 
on.  Just as with *Equal Beating*, there is a unique *canceling out effect* 
(or phenomenon, perhaps) which causes a certain cleanness or clarity which 
cannot be produced in any other way.

While ETD programming of some historically documented temperaments can 
perhaps produce some of these effects by happenstance, the only real way to 
get them is by careful and deliberate design in aural tuning.

Are you reading this, David Anderson, Malibu, CA?  I like Virgil's tuning 
too.  And that's why I asked him to demonstrate an aural ET tuning at the 
Temperament Festival at the 1998 Convention.  His tuning held up as being the 
*best* until it was compared side by side with mine in the final round.  The 
rest is History.

I have asked Jason Kanter to either post his graph to the list or offer it to 
be sent privately.  I will send it privately upon request, not wanting to 
post any attachments to this list.  It will also be posted on my website as 
soon as I can manage to get it on there.

Bill Bremmer RPT
Madison, Wisconsin
 <A HREF="http://www.billbremmer.com/">Click here: -=w w w . b i l l b r e m m e r . c o m =-</A> 

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From: Jason Kanter <jkanter@rollingball.com>
Subject: Re: ebvt offsets found
Date: Wed, 14 Aug 2002 06:44:45 -0700
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Url: https://www.moypiano.com/ptg/pianotech.php/attachments/bd/c8/3a/cd/attachment.eml

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