ricM and then Ron (one of the other ones) wrote: >Are people who are tone deaf and color blind to be >type cast as "naysayers" also? No, but they are presumably afraid to hear tone and see color, and are limiting their development as hearers and seers by their fear. Ron N <end> Well, dangitall! I had really hoped to avoid the name-calling this time around. Kindof a catch-22 here; don't want to sell alternate temperaments 'till folks ask for them / folks won't ask for them, 'cause they don't know about them...... At this point, what I'm suggesting, is limited to the "gear heads", those tuners that can trust a machine. It also helps if you can play some piano, hopefully a few things is some different keys. I really think that if we listen to new temperaments with a technician's ear (in a chromatic order) we'll miss how they work with music. A quick test is to play block triads around the circle of fifths while listening for the rise and fall of dissonence. You see, I'm working backwards from the historical form. Traditionally, (aurally) people worked from pure intervals to tempered. That is, hear something pure, and then temper in the right direction by a certain amount. Now, I'm going from the direction of equal temperament. (So is anyone else suggesting using offsets) The assumption is that somehow, you can get to a REAL close approximation of ET. Then the offsets placed into the machine alter the ET to give you something else. With the spreadsheets we're playing with, very small changes to the offsets can make profound differences in the ratios that we're tracking. Now I know, at some point, we surpass the resolution of the tuner, the piano, and the reality of stable environments, but I like to think that the target I'm aiming for is true..... So, the whole number offsets that Ed posted trouble me, but let's go with them. Oh, to ricM, The Broadwood's Best (Ellis #4) can be viewed at Jason Kanter's site: http://www.rollingball.com/TemperamentsFrames.htm under the Victorian Well link. I understand how confusing this is, with many temperaments sharing similar names.... Just so we can be on the same page. Pretty much any temperament that keeps the major thirds in the remote keys under 17 cents, can fly "under the radar", and be safely tried on just about any piano. (Avoid vocal studios, and choir rooms) The Broadwood pushes up to 17.7 cents. This seems to be the most sensitive range for newcomers; the 17-18 cent range, so people should notice that something is different. RicB, I don't have any real matching pianos in studios at the college, but I may give it a try on a Stwy B and a Yamaha C3 side by side. I'll let you know the feedback I get...... Ron Koval _________________________________________________________________ MSN 8 with e-mail virus protection service: 2 months FREE* http://join.msn.com/?page=features/virus
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