Billbrpt@aol.com wrote: > G2: 4.0 D3: 2.0 A3: 0.0 E4: -2.0 >B0:-4.0 E1: -2.0 A1: 0.0 D2: 2.0 G2: 4.0 C3: 6.0 > Try these. If you like the way the instrument sounds either way, great. Bill: Try this( in your head )-- Banjo: Fret that E string at the third fret to produce something in the neighbourhood of a G. Now play it against the open G. Not much like a tolerable double octave. As for the six-string bass, I don't know about the arrangement of strings, I'll take your word for it (I always assumed they were strung like guitars), but visualize (auralize?) your low B string stopped at the first fret against the top C played open. Roughly 10 cents different on what is nominally the same note. Isn't it generally considered that to most listeners, the rank of importance of features of a tuning is 1. Unisons 2. Octaves 3. Temperament? It seems to me that it is much more important to make sure the unisons and octaves are tolerable. If that leaves room to play with temperament, that's great. On a (non-unified) keyboard, you don't have to worry about such mutations, because there is only one way to play a note an octave higher, and no way to play the same note with a different key. On a multi-stringed fretted instrument there may be several ways to register the same nominal pitch, and the two (simplest) ways I have just mentioned on your hypothetical instruments would not work. Tim Keenan Terrace, BC
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