Bradley M. Snook wrote: >It took me a while, but was able to run through some of the numbers; if >you >are interested I can give you my results from A4-C7. > >The difference between 3:1 and 2:1 is not that much, but it does add a >small >amount of "extra" stretch to the overall temperament. Why do you feel that >this small amount of stretch past a 2:1 octave is helpful? Well, its not so much that I think stretching past a 2:1 octave is helpful or not.... as it is that I think that making the 12th perfect is desirable, and doesnt sacrifice enough relative to any octave type to worry about. Further it seems, and I underline seems as I am just starting to really pick this idea apart myself, that tuning the whole piano this way keeps the differeing octave types in a very nice and consistant relationship. And I have from almost day one (from my first experiences with ETD's) liked the idea of directly referencing a pianos built in inharmonicity. >Using your >method >with my piano, I get a .190 total beatrate and a +0.3729 cent additional >stretch at A4-A5; at C7-C8 I get a 3.819 beatrate with a +1.5476 cent >additional stretch. It is an interesting approach, but I'm not sure that it >is a good idea to sacrifice the sound of a single octave like that. I am unfamiliar with what you mean by 0.190 total beatrate, or 3.819 beatrate. How is this quantity calculated and what does it represent. As far as the stretch is concerned, could you tell me what tuning scheme you are comparing this method against ? Are you useing RCT and if so what OT. > >I personally do add a very small amount of "extra" stretch to my single >octaves (past that of a non-beating 2:1). But for me, I feel I get a better >result by balancing the sound of a 2:1/4:1 single octave. In addition to >closer coinciding overtones, this method also allows for a better sounding >double octaves. I gotta admit that there is a slight roll in the basic feel of the Octaves when keeping all 12ths pure. But then I was really suprised when doing the note for note check against RCT's calculated curve for this just tuned piano. Like I said in my last almost all the notes showed some blush, and those that didnt had only slight movement one way or the other in the spinner. You may be right about "better sounding double octaves" or this may really belong in the realm of personal tastes....as perhaps may my taste for the perfect 12th. But the real point of this excercise for me is to pick apart the whole process of calculated tuning curves... what they really are and what else can be done. On the surface of it it appears that this method presents a really easy way of tuning that results in a very pleasing result with its own character. And it also seems like it creates very much this same character regardless of the piano. Grin... I'll know more when I do :) > >Bradley M. Snook Thanks for the interesting reply Bradley Cheers RicB Richard Brekne RPT NPTF Griegakadamiet UiB
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