back from K.C. David A / Stopper

[Jason Kanter]

Yes. As I think about it, I recall that David Andersen puts great emphasis
on the fourths, especially on the way down through the tenor. Now fourths do
happen to have the coincident partial that is a P12 from the upper note. So
in a manner of hearing, David is emphasizing P12 in his own way. Hmm.

Jason


On 6/25/07, Richard Brekne <ricb at pianostemmer.no> wrote:
>
> Interesting that you should like this tuning so much there David.
> Stopper uses his own version of the P-12th tuning stumbled upon
> independently in a far more pragmatic approach by myself, and
> essentially used without being so defined by hundreds of tuners through
> the years who place a lot of weight on the major 6th double decime
> (10th) test.  Essentially a P-12th is a very moderate stretch...that
> pushes the stretch in the killer octave area out there a bit more then
> octave priority tunings usually do. Jim Coleman did some looking into
> the Tune-lab P-12th approach I came up with a few years back and there
> is some of his commentary in the archives on it.
>
> The interesting part about this is that just about everyone I've ever
> run into that uses one or another P-12th approach just ends up loving
> the tuning and specifically mention their enthusiasm for the stretch
> achieved.
>
> Personally, I find the P 12th approach to generally cause a too narrow
> bass and have come to rather lean heavily on an acceptably quiet 9:3
> coincident pair as part of my tuning tests. This tends to push the bass
> notes lower then a P-12th tuning would.  I find there has to be a nice
> compromise between what a P-12th wants and what the 9:3 coincident
> allows for.
>
> At some point in the bass...looked at from an octave priority
> perspective... the 4:2 and the 6:3 become more or less identical in
> terms of beat rates... nearly 0. At that point I let the 9:3 come into
> the picture. If its <<annoyingly>> fast...... then I need to push a bit
> wide.  I havent gotten into counting beats with this yet... one just
> finds a good compromise.
>
> In anycase... that you like this approach of Bernhards re-enforces
> something I've suspected from your own discussions on tuning on the list
> for a long while now. That your tuning ends up very close to a P-12
> result.
>
> Cheers
> RicB
>
>
>    Special greetings right back at ya, Bernhard.  The Fazioli suite was
>    on my floor (the 36th) at the Hyatt; on Saturday, after my 6-hour
>    marathon of teaching, I followed an impulse to turn right into the
>    Fazioli suite rather than left into my room, and what I found was
>    magnificent: a 6'4" piano, which I had played and enjoyed on
>    Thursday, was now luminously beautiful; I played a little, and
>    immediately asked some guy there who had tuned it; he pointed to you,
>    hunched over a computer with Rick Baldassin in the corner of the
>    room. I played some more; this piano was tuned in a manner extremely
>    close to my protocol and stretch; it sounded, to me, like a million
>    bucks. My only quibble---and a teeny one, at that---was the slight
>    imperfections in the unisons, but the tuning was awesome. Then, as is
>    my wont, I expressed my satisfaction to you rather joyfully and
>    forcefully---hope I didn't freak you out with my enthusiasm, brother.
>    That was one great piano tuning, Mr. Stopper. Thank you.
>
>    xoxxoDavid A.
>
>


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