Tuning Acrosonics

[David ilvedson]

If there isn't really equal temperment what about the other 
temperments?  Is there more leeway in tuning a Victorian and 
still calling it a Victorian?  Why would HT's be any different in 
that fashion that ET?  

David I.

Date sent:      	Mon, 06 Dec 1999 22:24:01 +0100
From:           	Richard Brekne <richardb@c2i.net>
To:             	pianotech@ptg.org
Subject:        	Re: Tuning Acrosonics
Send reply to:  	pianotech@ptg.org

> 
> 
> Billbrpt@AOL.COM wrote:
> 
> > In a message dated 12/5/99 8:19:34 AM Pacific Standard Time,
> > kswafford@earthlink.net (Kent Swafford) writes:
> >
> > << My personal preference when dealing with a
> >  large difference in inharmonicity at the tenor break is to give up on
> >  smooth beat rates in the 3rds in favor of smooth beat rates in the 4ths,
> >  5ths, and octaves. >>
> >
> 
> Hmmm.. An interesting thread really... Actually I'd like to point out that in a
> sense the whole point is really that there is no such thing as ET at all. At very
> best one can equally space only one and the same one partial for every string on
> the piano. This is illustrated by the fact that a perfectly equal spaceing of say
> the 4th partial for all 88 notes, is no guarantee that any other partial will be
> equally spaced. In fact it is more like a guarantee that all other partials will
> be unevenly spaced. Such an perfectly even spaceing of the 4th partial then would
> automatically lead to some degree of uneven thirds, fourths, fiths,, all intervals
> for that matter. So we are left to some degree with a comprimise situation.
> 
> One can force a pretty even progression of major thirds... or one can go with 4ths
> and 5ths. In good pianos you can get both to work out quite nicely. Which one you
> choose in a challanging piano is in the end a matter of taste... within certain
> rather vaguely defined parameters of acceptability.
> 
> Add different stretchs into the equation and the "unequalness" of all partials and
> coincidents outside of the present control or determinant set, can become quite
> significant if you want to get picky enough to measure it all out.
> 
> Jim Coleman got me started on this buisness with Baldersins book about six months
> ago. We use octave types, 5th types and other types all the time without even
> knowing it. In fact I am convince that most aural tuners dont really know
> (conciously and easy to fetch from the back of the mind) much about these "types"
> formally at all. I am also convinced that the more familiar one is with them, (on
> a very concious and active level) the more powerful a tuning tool it becomes. I
> find myself more and more being able to sit down and quickly discern another
> tuners style because of an accute and increasing awareness of these types. In the
> process I have begun to think less of different tuning styles and stretches as
> right or wrong.. rather as one or another set of priorities from the tuner. Its
> actually quite facinating.
> 
> Richard Brekne
> I.C.P.T.G.  N.P.T.F.
> Bergen, Norway
> 
> 
> 
> 


David Ilvedson, RPT
Pacifica, CA
ilvey@jps.net