Hi Alan, The advantage of the Sanderson is that the octave widths are found almost immediately. If f3 and f4 are in the same octave relationship as a3 and a4, then c#4 will be "in the right place" very quickly. Pure 5ths would only occur by accident in most pianos. It is one reason to "push" past a 4:2 octave--the wider the octave the better the fifths will be. Some even do a wide 6:3 from f3 to f4. Tuning comes down to a "matter of taste". At 10:39 PM 4/5/2005 -0500, you wrote: > >I had assumed you still had to have a "starting place" for F3 or C3, here, >but on more careful reading it seems like you just rough them in and start >tweaking both of them, kinda simultaneously, until you get your ladder >working. Is that the idea? I will have to try it but it seems as though you >could go back and forth in many iterations before you nailed it. Is it not >that tough? > >I'm still curious about the P12th D3-A4 bit, though. Is the logic correct or >would different pianos require a, shall we say, less-than-perfect 12th? > >Alan R. Barnard >Salem, MO Regards, Don Rose, B.Mus., A.M.U.S., A.MUS., R.P.T. Non calor sed umor est qui nobis incommodat mailto:pianotuna@yahoo.com http://us.geocities.com/drpt1948/ 3004 Grant Rd. REGINA, SK, S4S 5G7 306-352-3620 or 1-888-29t-uner
This PTG archive page provided courtesy of Moy Piano Service, LLC