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<DIV><FONT size=2>Try them out on your own piano. I've gone =
through about
5-6 of them just trying them on my own piano. I also do some =
university
tuning and put them on some of the practice room pianos once in awhile =
just to
hear them with a note to the students indicating that this piano is =
tuned in
________ temperament. Over the past year, then, I've had the =
opportunity to hear about 10-12 different ones. At this point I've =
probably settled on 2-3 that I would use if they were requested.
</FONT></DIV>
<DIV><FONT size=2></FONT> </DIV>
<DIV><FONT size=2>David Love</FONT></DIV>
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<DIV style="FONT: 10pt arial">----- Original Message ----- </DIV>
<DIV
style="BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: =
black"><B>From:</B>
<A title=PNHISTIC1@AOL.COM
href="mailto:PNHISTIC1@AOL.COM">PNHISTIC1@AOL.COM</A> </DIV>
<DIV style="FONT: 10pt arial"><B>To:</B> <A =
title=pianotech@ptg.org
href="mailto:pianotech@ptg.org">pianotech@ptg.org</A> </DIV>
<DIV style="FONT: 10pt arial"><B>Sent:</B> May 04, 2002 7:38 =
AM</DIV>
<DIV style="FONT: 10pt arial"><B>Subject:</B> Re: OFF (*was: =
neurology)</DIV>
<DIV><BR></DIV><FONT face=arial,helvetica><FONT size=2>List, =
<BR><BR>I look
forward to trying many of the HTs. I have them sitting in my =
ETD,
awaiting a proper time to come out and grace an instrument. The =
biggest
issue I see is where does one hear them all to decide which one/ones =
are
appropriate for the situation? Seeing the offsets written down, =
or a
graph showing the offsets are interesting intellectual exercises, but =
how can
we actually listen to them and compare without risking the wrath of a
non-adventurous client or staid store owner by HT-ing their pianos?
<BR><BR>And can anybody satisfy my historical curiosity: is there any =
data out
there about how HZ were measured before Heinrich HZ came along? =
How were
standard pitches set in rennaisance music? <BR><BR>Dave Stahl, =
<BR>Los
Altos, CA. <BR><BR>In a message dated 5/4/02 5:47:57 AM Pacific =
Daylight Time,
Reikiharp@AOL.COM writes: <BR><BR><BR>
<BLOCKQUOTE
style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #0000ff 2px =
solid; MARGIN-RIGHT: 0px"
TYPE="CITE">remoody@midstatesd.net writes: <BR><BR><<
When one normally tunes In Equal Temperamant =
this is
not <BR>being in any way imposed on the client. One is working to an =
<BR>official and accepted standard, >>
=
<BR> &nb=
sp; &nbs=
p;  =
; =
&=
nbsp; &n=
bsp;
=
<BR> &nb=
sp;Yea
, Yea, Yea, so everyones been colouring with a standard blue =
<BR>crayon for
a hundred years t hen suddenly the information age catches up =
<BR>with
our industry and we discover that we have the super-size 101 color =
box
<BR>of crayola crayons with the sharpener built in to the side of =
the box.
=
<BR> &nb=
sp; &nbs=
p; I
really don't care what the standard is, <BR>but I think it best =
serves
musicians to know what their options are. Open up <BR>that enormous =
box of
crayons , tell them most people use the standard blue if <BR>you =
want , then
extend your hand and share what you know, Let them choose. =
<BR>At
that point if they say "do what you think is best" like many do. Do =
it.
=
<BR> &nb=
sp; &nbs=
p;  =
; =
&=
nbsp; &n=
bsp; </FONT><FONT
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