<div><br>John:</div> <div> </div> <div>Thanks for the reply. I suppose I am more analytical than most, which is makes things difficult when dealing with a subjective topic like "what sounds best". I tune with 6:3 octaves in the temperament because, to me, they sound "clearer" even though a narrower octave sounds "cleaner". Also the double octaves sound better and the tests are more managable with one hand. (I used to think I was tuning 4:2 octaves until I realised I was listening to 6:4 fifths.) I have not experienced a cetain octave making the compromises easier across a break. Of course when a true compromise is made, <em>all</em> intervals are compromised including the octaves.<br> </div> <div class="gmail_quote">On Tue, Oct 21, 2008 at 11:12 PM, John Formsma <span dir="ltr"><<a href="mailto:formsma@gmail.com">formsma@gmail.com</a>></span> wrote:<br></div> <blockquote class="gmail_quote" style="PADDING-LEFT: 1ex; MARGIN: 0px 0px 0px 0.8ex; BORDER-LEFT: #ccc 1px solid"> <div> <div class="gmail_quote"> <div>I don't consciously listen for coincident partials when setting A3 from A4. I listen for the best overall octave, then check what octave width it is. What usually works best is an A3-A4 octave between a 4:2 and 6:3. However, certain pianos call for that octave to be between 4:2 and 2:1. Having tuned many different types and sizes of pianos, I have a general idea of what will work best before I get started. Obviously, that general idea comes from many trials and errors. :-)  And, it's fairly simple to readjust if what is initially tried doesn't work.</div> </div></div></blockquote> <div class="gmail_quote"><br>-- </div> <div class="gmail_quote"><br>Regards, <br>Jeff Deutschle<br><br>Please address replies to the List. Do not E-mail me privately. Thank You.<br><br></div>