back from K.C. David A / Stopper /P12 authorship

[Bernhard Stopper]

My chère brother David,

a little misunderstanding, it was never my intention to offend you or 
any of the colleagues with my statement. The statement (that the 19th 
root of three temperament is superior to others) is meant for *tuning 
theory*, which is in that case is much more close to what gigs like you 
and many other high skilled aural tuners do, what can not be said of the 
12th root of two temperament theory.

The canceling out phenomene that you use by intention and skill is at 
the *maximum* in the P12 temperament. This is just a 
mathematical/physical fact of numbers, and this was my important finding 
about the P12, and this should be still of interest of any aural tuner. 
I do not say that if done slightly different, the tuning is less worth, 
it´s just different, but with less symmetry (and as a result less 
cancelling out) then. So aural tuners should not feel offended by the 
P12 theory, but confirmed.

I am still an aural tuner because i like it too, especially with the 
aural onlypure tuning method, the (at least for  me) fascinating idea 
setting up a tempered tuning completely with pure tuned three-note 
combinations of octaves and fifths, which is a great pleasure to do (but 
still more hard work with the ETD though).

kind regards,

Bernhard

David Andersen schrieb:
> Comments interspersed:
> On Jun 26, 2007, at 2:14 AM, Bernhard Stopper wrote:
>
>> More important (if not sensational, sorry for the self-praise) is my 
>> finding of the beat symmetries (or symmetric interfenrence phenomene) 
>> inherent in only this equal temperament four years ago, cancelling 
>> out the beats in octave and fifths combinations and thus turning a 
>> tempered tuning into pure tuning when playing chords.
> I've been experiencing, and talking about, my perception and use of 
> the cancellation phenomenon, which I have always referred to as a 
> psych-acoustic illusion, for many, many years. I believe my body is 
> profoundly capable of perceiving those fine and custom differences 
> that make up a great, musical tuning. I know many, many other 
> whole-tone, open-string aural tuners who have experienced the same 
> cancellation phenomenon, and have developed a massive skill in using 
> it to maximize tuning beauty. 
>
>
>> And this the proof why this tempermant is superior to any other.
>
> WHOA! How can you possibly say that? I have heard many great tunings, 
> all over the world, using all kinds of methods to arrive at beauty. I 
> could never let the above statement pass without challenge.
>
> My brother, that's going too far. Your tuning is beautiful, and I 
> respect your passion and desire to aspire to tuning excellence---but 
> to say that your temperament is superior to any  other can only 
> diminish and tarnish your perception in our community; there is no 
> "proof" as you speak of it, and your colleagues have and will take 
> offense and umbrage
> if you keep insisting there is.
>
> Let it rest; create beauty with your tunings, and your tuning 
> software, and let a hundred other flowers bloom.
> Life is too short for these kinds of trumped-up arguments and sturm 
> und drang.  
>
> With best hope and intention,
> David Andersen
>
> P.S. This is my last word on this, so please feel free to remove my 
> name from the subject line if the thread continues.
>
>