SAT

[Jim Coleman, Sr.]

Hi Mike:

You wrote:

"Jim, How much better is the sensitivity and filtering in the SAT II as
compared to the SOT?

Mike Musial RPT
Reedsville Pa

The Sot depended upon Resistor/Capacitor circuitry to approach the tempered
note to note relationships. The big improvement of the SATs over SOTs is
that the relationships are maintained mathmatically and are not subject to
drift. The filtering system of the new SAT III is completely different and
is an additional improvement. The precision and stability of the SAT III
has also been improved.

When the SOTs came out, many of us who were already aural tuners noted that
we could make improvements upon the tunings which the machine provided.
Since the advent of the SATs, I no longer believe that when considering only
the temperament area of a well scaled piano. For the last 10 years of
teaching in PTG classes, Have repeatedly demonstrated that when I had tuned
a temperament by machine and found some interval which could be improved, 
I would go back and both notes of the interval noted to not quite fit, and
in every instance, I was able to tune a little more accurately with the
machine and perfectly satisfy the aural requirements. This has given me the
audacity to go up against such a stellar light as Virgil Smith. As I have
reported before, Virgil and I have been discussing his theories for years.
We disagree agreeably. However, the man really tune. People who listened to
our first round made comments like "the purity and beauty of the tunings
just gave me 'goose bumps'." Virgil listens to piano tones in a different
way than I do. Just a few weeks ago he called me to suggest that I must 
really hear the way he does but I just don't want to admit it. No, I have
tried to hear like he does, but the discrete partials are just so prominent
that I apparently miss what he hears. I no longer argue with him that he
does indeed listen to partials, but he tunes with such precision in the
temperament area I know it is based on some reality. His claim to listen to
the "whole" tone is beyond my knowledge in piano tuning, but I do relate to
it in singing, violin playing. I just try to sing and play in tune, I do not
listen to partials when I am singing. Orchestra members when playing with
a piano Concerto have to adjust their intonation with the piano (which has
inharmonic partials and they don't), so, I think they do some kind of 
amalgamation (listening to the whole tone) just as Virgil says he does. I
have been to many of his classes and by and large the entire class is 
greatly impressed with his ability even though they may not fully understand
his theory. Just remember, people for quite awhile did not understand 
Einstein either. Many of us still don't. I understand some of it enough to
disagree with only certain parts. I suppose that is where I am with Virgil.

Mike, I'm sorry, some of this did not apply to your question, but I was
hoping answer some of the questions of Dave Pitsch at the same time.

Jim Coleman, Sr.