modern ears, historical temperaments

[A440A@aol.com]

Greetings

        I have been watching this list for a while, and  would like to know
if there are any practising tuners out there that
are using non equal temperaments for modern work.
       After tuning in Nashville recording studios for the last 18 years,  I
finally convinced a studio owning friend to try a Well temperament,(
Young1799), on the piano. He heard it once, and declared that he would never
go  back to equal temperament.
       Very interesting responses. The guitar players love the increased
harmony available in the purer keys. ( actually, any key with less than 3
accidentals).
       There was one demo session where the singer *had* to sing in F#, and
 there was a lot of eyebrows raised;  yes, it did sound out of tune,  the
 piano player was not posessed of an 17th century tonal education, so there
 was no question of him working within the temperament.
       I have found it very interesting  the way different people register
the difference in sound.  Approx.  30% of the musicians notice the increased
 purity in the simpler keys, and approx. the same number notice the increased
 dissonance in the more tempered keys, there are some that don't notice
anything until it is pointed out to them, and a very few pianists that
 instantly recognize the aural palette and can grasp what effect composers
were, by manipulation of key character, seeking.
      I would  like to hear from anybody else that is currently working  on a
temperament crusade,  I really think there is more interest in the topic
 than the current dialogue indicates.
regards,
Ed Foote
Precision Piano Works
Nashville, Tn.