Mike asks: inre my customers, >your customer triad, (Vanderbilt, >recording studios, and professional musicians). What type of >professional musicians do you have as regular customers? The classical side of Vanderbilt is where the majority of my HT's find themselves. However, there are quite a few songwriters here in town, and slowly I am exposing them to the Young(1799) as a departure point. They tend to write in the simpler keys, so this is usually seen as an improvement. Singers around here select the key for their voice, so the HT's do often present problems for them. There is still only one recording studio here in an HT, but I am still working on spreading the concept on music row. Session musicians are usually preferring ET, which is natural, as that is where their money comes from. Private customers get the HT pitch when I see what kind of music they are playing. If it is Chopin and before, I can usually sell the idea, because I believe in it. Contrary to some others, I don't like the sound of Rachmaninoff or Gershwin in a Well Temperament. I hear the dissonance palette as interruptive, but that is just my own subjective taste, which is also reinforced by feedback from some of my adventurous," later music" clientele that have tried it. Cage's 4'33" is the exception; it sounds best in 1/2 comma meantone, with 200% stretch and wild unisons............(:)}} Students are easier to lead into the fold, but I don't yet know if that has as much to do with the concept as the sound. As a student, I was always looking for something to challenge the status quo, and it doesn't look like the current crop is any different. Regards, Ed Foote
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