OnlyPure Recordings

[b98tu@t-online.de]

Ric,
thank you for your merits. But ;) 

The 3 note frequency modulation of a chord consisting of an octave and
inner upper fifth and octave and inner lower fifth for temperament
setup and tuning up the treble and down the bass is the main base of
the OnlyPure method. Whithout using this 3 note chord frequency
modulations, you cant get these chords to the same clean level by using
2 note intervals sequentially.  This is as impossible as tuning a 2
note interval pure by tuning the 2 notes sequentially and not together
with the judgment of the frequency modulation of the 2 notes. Be sure
there is a difference to usual temperament setting. Maybe one cannot
here it clear enough on a 16 bit digital recording.

By the way, if you have a concert grand, with lengths progression
nearly doubling per octave in some regions (for example on a Steinway
D)  choosing no matter what partial pair conicident (as the 6:3  octave
in your ETD solution) will lead you always to a pure octave, since the
resulting inharmonicity slope makes all octave partial pairs coincident
in this case.

If tuning P12 equal temperament, one must let fall the pure octaves
completely down, since the stretch is needed to phase out with the
fifths in the  3 note chords. So forget to try to get any of the octave
partial pairs coicident.  Tuning really pure twelfths ET is the choice
to adding the pythagorean comma to the octaves side.

best regards,

Bernhard

Ric Brekne wrote:
> Very nice sounding B.  Nicely voiced indeed.  The tuning
> is clean and 
> has seems to reflect that sense of stretch I've become
> accustomed too 
> when tuning P 12ths priority instead of octaves priority.
> Outside of 
> that I cant honestly say that the tuning is in any way
> superior to any 
> other fine quality tuning I've heard. Pianos are supposed
> to sound this 
> clean when tuning on this level. If a concert tuner cant
> manage this, 
> then  he/she is soon out of concert work.... yes ??
> 
> 
> Cheers
> RicB
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