<HTML><BODY style="word-wrap: break-word; -khtml-nbsp-mode: space; -khtml-line-break: after-white-space; "><BR><DIV><DIV>On Feb 5, 2007, at 10:05 AM, Fred Sturm wrote:</DIV><BR class="Apple-interchange-newline"><BLOCKQUOTE type="cite"><SPAN class="Apple-style-span" style="border-collapse: separate; border-spacing: 0px 0px; color: rgb(0, 0, 0); font-family: Helvetica; font-size: 12px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; text-align: auto; -khtml-text-decorations-in-effect: none; text-indent: 0px; -apple-text-size-adjust: auto; text-transform: none; orphans: 2; white-space: normal; widows: 2; word-spacing: 0px; "><DIV>I suspect it might be possible to come up with a more or less consensus "vanilla" concert tuning that a reasonable majority would call acceptable. And it may be that the differences in style are not perceived by the average music lover. That said, we have been discussing tuning and fussing with it in a pretty well-defined way for decades, and the result is continued disagreement - note that the trend with ETDs is for more and more customizable programs, and no one has come up with a pre-loaded page for the D that is universally acceptable.</DIV><DIV><SPAN class="Apple-tab-span" style="white-space:pre"><SPAN class="Apple-style-span" style="white-space: pre; "> </SPAN></SPAN>Twenty or more years ago, I might have said there are two major concert tuning schools: "PTG" and "Steinway basement." "PTG" fusses with every single interval, and is rather conservative when it comes to keeping octaves "dead on." "Steinway basement" sets a quick, reasonable good temperament without fussing, tunes outward listening to octave and fifth, aiming for wide octave and beatless fifth, and puts most emphasis on rock solid stability and crystal clean unisons. I think there is more variety today than that today.</DIV></SPAN></BLOCKQUOTE></DIV><BR><DIV><BR class="khtml-block-placeholder"></DIV><DIV>I heard one of the Steinway concert techs make a very good point about concert tuning recently. They have scores of technicians tuning, and each has his/her own different tuning preferences. But artists never fuss about the tuning beyond solid octaves, unisons and stability. Artists are much more concerned with touch, control and tone. Tuning is highly overrated. I've always found that my experience with artists follows right along those lines.</DIV><DIV><BR class="khtml-block-placeholder"></DIV><DIV>Jeff</DIV><BR><BR><DIV> <SPAN class="Apple-style-span" style="border-collapse: separate; border-spacing: 0px 0px; color: rgb(0, 0, 0); font-family: Helvetica; font-size: 12px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; text-align: auto; -khtml-text-decorations-in-effect: none; text-indent: 0px; -apple-text-size-adjust: auto; text-transform: none; orphans: 2; white-space: normal; widows: 2; word-spacing: 0px; "><DIV>Jeff Tanner, RPT</DIV><DIV>University of South Carolina</DIV><DIV><BR class="khtml-block-placeholder"></DIV><BR class="Apple-interchange-newline"></SPAN> </DIV><BR></BODY></HTML>