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<DIV><FONT face=Arial size=2>Kent-</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV><FONT face=Arial size=2>Have you been tuning some small, compromised scale
pianos as well as larger grands?</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV><FONT face=Arial size=2>What do you hear in the mid-range 3rds, 4ths,5ths
and 8vas? Particularly on small pianos.</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV><FONT face=Arial size=2>How would these tunings do if used for an exam
master tuning?</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV><FONT face=Arial size=2>Are there any user choices to be made or is it
basically a hard-wired program?</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV><FONT face=Arial size=2>And does it tell you how many angels can dance on
the head of a tuning pin?</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV><FONT face=Arial size=2>Ed Sutton</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV> </DIV>
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style="PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
<DIV style="FONT: 10pt arial">----- Original Message ----- </DIV>
<DIV
style="BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: black"><B>From:</B>
<A title=kswafford@gmail.com href="mailto:kswafford@gmail.com">Kent
Swafford</A> </DIV>
<DIV style="FONT: 10pt arial"><B>To:</B> <A title=caut@ptg.org
href="mailto:caut@ptg.org">College and University Technicians</A> </DIV>
<DIV style="FONT: 10pt arial"><B>Sent:</B> Thursday, October 16, 2008 11:45
AM</DIV>
<DIV style="FONT: 10pt arial"><B>Subject:</B> Re: [CAUT] P-12ths was: Tuning a
Steinway D and aBosendorferImperial together</DIV>
<DIV><BR></DIV>
<DIV dir=ltr>
<DIV>Fred, your post is thoroughly reasonable.</DIV>
<DIV> </DIV>
<DIV>I have been trying to understand Stopper for almost 2 years now. There
are some obstacles. First there are language and cultural barriers. And
second, there is the simple fact that Stopper is trying to make money from his
discoveries; his vagueness may not be a matter of not "grasping the
complexities" as much as they are simply wishing to keep the knowledge
proprietary.</DIV>
<DIV> </DIV>
<DIV>But make no mistake, Stopper's credentials are solid, and in 4 months of
intensive use of PureTuner (my nickname for Tunic OnlyPure) I have only been
able to corroborate his claims, not refute them.</DIV>
<DIV> </DIV>
<DIV> </DIV>
<DIV>Kent</DIV>
<DIV><BR><BR> </DIV>
<DIV class=gmail_quote>On Thu, Oct 16, 2008 at 10:06 AM, Fred Sturm <SPAN
dir=ltr><<A href="mailto:fssturm@unm.edu">fssturm@unm.edu</A>></SPAN>
wrote:<BR>
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<DIV style="WORD-WRAP: break-word">
<DIV class=Ih2E3d>
<DIV>
<DIV> </DIV></DIV></DIV>
<DIV>
<DIV>
<DIV style="WORD-WRAP: break-word">
<DIV><SPAN style="WHITE-SPACE: pre"></SPAN>What I am trying to do is to
point out that, IMO, "there is nothing magic" about the 19th root of 3 as a
basis for tuning. It is simply indistinguishable from other mathematical
ways of establishing equal half step relationships in the real,
inharmonic world of piano tuning.<BR></DIV>
<DIV><SPAN style="WHITE-SPACE: pre"></SPAN>Stopper argues otherwise (see his
article, referenced in a post I sent previously). I don't find his arguments
at all compelling. Others may. He makes the 19th root of 3 division the
basis for the "Stopper comma," which he makes great claims for. He does say
that to the "additional stretch" produced by beginning with a pure 12th must
be added the inharmonicity of the piano, though his explanation of how this
is done is VERY vague, and doesn't demonstrate a very good grasp of the
complexities involved. An example of his explanation of inharmonicity and
tuning:</DIV>
<DIV> "The inharmonicity itself pushes the whole scale away from the
theoretical frequencies derived by the scale functional formula. The
inharmonicity is already considered when tuning aurally, since the ear makes
an integration of the harmonics to a "virtual pitch." If an aural
tuner tunes a slight beat-rate-narrow fifth, that fifth remain about the
same amount beat-rate-narrow in instruments with different inharmonicity,
wheras the absolute frequency deviation is up to some cents on stiff strings
in the treble." </DIV>
<DIV><SPAN style="WHITE-SPACE: pre"></SPAN>He claims "the recent discovery
of the Supersymmetry between the beats and the frequencies" based on
his tuning. Perhaps if it is demonstrated to me, I will be blown away. I am
skeptical. Actually, he seems more focused on electronic and other
"essentially harmonic" instruments than on acoustic pianos. </DIV>
<DIV class=Ih2E3d>
<DIV>Regards,</DIV>
<DIV>Fred Sturm</DIV>
<DIV>University of New Mexico</DIV>
<DIV><A href="mailto:fssturm@unm.edu"
target=_blank>fssturm@unm.edu</A></DIV>
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