> > On 1/26/2011 12:47 PM, Carl Teplitski wrote: >> He also said >> that unisons are most important in a good tuning, whereas" temperament" >> is a close second.!! ?? I'd go with: Unisons Octaves Double/triple octaves Fifths (keep them reasonably close to pure at the 3:2 level, and not too noisy at 6:4 and 9:6) Temperament Walking tenths and seventeenths in the bass Clear P12ths and P19ths in the high treble Having been a former conservatory/academy/university ear training instructor for quite some years, that's the order in which I believe my fellow professional musicians are most apt to notice tuning problems or differences. Temperament is pretty far down the list (I'm not saying that it's not important for us; we should do a great job of setting temperament, as it makes the whole puzzle fit together well). And, wearing my third hat, as an audio engineer, I have done a fair amount of editing of major symphony level players where a few cents off is fairly normal, and doesn't sound too bad in context. It always helps me to feel a little more relaxed when I recall that while trying to tame an impossible false beat on a poor quality spinet. That little shimmer juuuust might not be the end of the world. Joe DeFazio Pittsburgh
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