Thats because he's imposing a very pre-defined tuning priority on each
instruments own inharmoncity, and a priority that actually works. You
could call it a very strictly defined stretch, which is why there are no
stretches to select from. Or you could think of in in terms of the
alignment of coincident partials he ends up with, which is centered
around the P-12th and a temperment based on a P-12th interval instead of
an octave.
Assuming that a particular alignment of coincidents for a given set of
intervals imposed on any pianos inharmonicity results in a very fine
tuning each and every time.. then implementing this on an ETD is a
straightforward affair for those with the programing skills to do so.
We have always thought in terms of Octaves, and struggled to find octave
matchings that work and find that we need to change which octave types
we place most weight on for each piano and for each area of a piano.
With 12ths you really need to concern yourself with only 3 types. 3:1,
6:2 and 6:1. From about D3 upwards you can confine yourself to the 3:1
and there isnt a piano on the planet that will not end up sweet as can
be with that imposed assuming an appropriately tempered 19 semitones
with the outside two tones being a perfect 12th to start with.
The bass wants some degree of stretch no matter which way you work it...
so you will have to choose where to move from 3:1 to 6:2 or 6:1 to put
it in terms of coincidents. One could alternatively choose the best
middle road for all three. In anycase... in all but the most pitifully
scaled and dinkiest of instruments... this works great on every single
instrument you come across.
Cheers
RicB
One of the very interesting - as of yet unmentioned - aspects of
this new software is that it is the FIRST, that I know of, where the
developer claims that no aural tweaking is needed to get to a "fine
tuning".
Hmmmm??
Ron Koval
Chicagoland
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