<HTML>In a message dated 4/7/01 5:39:56 PM Central Daylight Time, rbrekne@broadpark.no (Richard Brekne) writes: <BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">You know Bill,,, I am begginning to understand that this is a bit more important then I origionally thought some months ago when I first heard you talk about beat cancelling effects other then in unisons. </BLOCKQUOTE> You bet it is, Richard and you will not find out anything about it in any book on piano tuning, any course about piano tuning or in any class at the PTG Annual Convention.  Now, how often does anyone *really* come up with anything *new* concerning tuning that is of any importance?  I'll just keep on doing what I do until a few more people catch on to it and confirm the extraordinary effects. I'll tell you about one person who did notice this effect way back in it's earliest days.  It was none other than Jim Coleman, Sr RPT.  After hearing a Baldwin SD-10 tuned in the EBVT with tempered octaves at the PTG Annual Convention in Milwaukee, 1993, he, at his age, literally bounded up to me at the conclusion of the recital.  His words were, "You've done *something* with the octaves.  I don't know what it is but I *really* like it!"  Subsequent meetings where it was compared with the very best of ET tuners, Virgil Smith RPT demonstrated a *significant* difference which had undeniable appeal.   There is a good reason for me *not* to enter into any more tuning "competitions":  I'd win them hands down each time against ET. The truth is that it is so simple as to be *mindless* and it can be duplicated and verified by an ETD but not through the smooth, calculated curve methods proposed by all of those program designers.  You just have to make the effort to learn what I have learned to do by putting together the teachings of several of PTG's best technicians, including but not limited to Coleman, Smith and Jorgensen. Go for it. Bill Bremmer RPT Madison, Wisconsin</HTML>