<div dir="ltr"><div class="gmail_quote">On Sat, Jul 19, 2008 at 5:25 AM, Allen Wright <<a href="mailto:akwright@btopenworld.com">akwright@btopenworld.com</a>> wrote:<br><blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex;">
<div style="word-wrap:break-word"><div><br></div><div>But isn't the sound of an octave (or double octave, or whatever) created largely by "the coincidences"? When I use tests like the m3-M6, it's in combination with listening to the quality of that octave, and to get a fix on what size seems to work best in that particular piano; ie. for musical reasons. There's certainly nothing hard to hear about that test - or listening to beats at the 10-5 level for that matter (especially in medium to smaller pianos). To me, those seem like very direct ways of getting at the "musicality" of an octave. And if the octaves are consistent all the way down, chances are the other intervals will sound good, too.</div>
</div></blockquote><div><br></div><div>To be sure, yes. My point was that we can possibly get that correct octave faster by listening musically. I do it and have done it both ways. It is piano dependent sometimes too.</div>
<div><br></div><div>On the cheaper pianos, I'm normally listening at the 6:3 level and calling that good. On better pianos, I'm considering much more, and seeking to blend the bass better with the rest of the scale.</div>
<div> </div><blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex;"><div style="word-wrap:break-word"><div>I mean, there's always some noise in the bass - it's a matter of choosing which noise you prefer.</div>
</div></blockquote><div><br></div><div>True. It's always a compromise. Always a choice of what to blend with what.</div><div><br></div><div>--</div><div>JF</div><div><br></div><div> </div><blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex;">
<div style="word-wrap:break-word"><div></div><div class="Ih2E3d"><div><div><div>On Jul 19, 2008, at 3:08 AM, John Formsma wrote:</div><br><blockquote type="cite"><span style="border-collapse:separate;color:rgb(0, 0, 0);font-family:Helvetica;font-size:12px;font-style:normal;font-variant:normal;font-weight:normal;letter-spacing:normal;line-height:normal;text-align:auto;text-indent:0px;text-transform:none;white-space:normal;word-spacing:0px">Perhaps if we spent a little bit more time listening to the overall sound rather than picking apart coincidences, we would probably spend less time testing. After all, the goal is musicality, not how many ways we can prove the width of a particular octave. I'm speaking to my own self as well as anyone else, mind you.</span></blockquote>
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