<!doctype html public "-//w3c//dtd html 4.0 transitional//en"> <html>   Billbrpt@AOL.COM wrote: <blockquote TYPE=CITE>Sometimes, the goal in temperament may actually be to keep the distinctions below the threshold of what most people can distinguish.  That is the way my EBVT is designed.  Indeed, most often, other technicians will say when questioned about it, "It sounds great but I honestly can't tell the difference from ET".  It takes a direct comparison to be able to distinguish the difference and even then, the difference is recognized as being a slight and subtle refinement such as the perception of enhanced clarity or being a little more "in tune" sounding. To be honest, I have had the same experiences and do not claim to be able to recognize and particular temperament when music is being played.  I can, however, recognize 1/7 Comma Meantone when certain contexts are played that reveal the highly energized sound of the wolf key.  I think I would recognize 1/4 Comma Meantone if I heard it.  I also can and do recognize the sound of my own EBVT when I hear it but that is because I know exactly what it is supposed to sound like in all contexts.  </blockquote> Er..... I dunnnooo Bill, I think perhaps we are underestimating the ear a bit here. Now I am no expert in HT's and have to date very limited experience, Vallotti Young being the only other temperament I have heard besides ET. I find it absolutely no problem to hear the difference between this and ET. This is the case whether I am "testing" chords and intervals myself, or whether I am just listening to someone play. Actually listening to people play on this one example I have it is very easy indeed to hear that it is not ET. Its very different and quite pleasing really. Cant really explain in words yet what that difference consists of, except to use terms like colouring and describing beats in chords with words that sortof relate a kind of moodish analogy. But I dont think I would have any trouble recognizing that this particular temperament was not ET when I heard it in a blind test. Actually I cannot imagine that I would not be able to. I dont think I have a particularily exceptional ear, so I can only think this has to do with training as a piano tech coupled with both a reasonably good musical ear and a good deal of studying about partials and beats as they relate to ET and the inharmonicity problem. I doubt seriously that this latter has much to do with being able to hear the difference, but who knows. Also, at least 30 % or so of  the students in the UiB hear that there is a substantial difference quite easily when they sit to play. And after a bit of expererience playing on this that percentage goes up quite a bit. I think really its not so much a matter of what we can hear as it is what we are used to listening for, intuitively and conciously. Fact is this really hasnt been an issue for quite some number of years now, so it shouldnt suprise anyone if there is an apparant lack of ability to discern the difference between ET and a given HT amoung a substantial percentage of the population. my inexperienced musings.       <blockquote TYPE=CITE>  Bill Bremmer RPT Madison, Wisconsin</blockquote> -- Richard Brekne RPT, N.P.T.F. Bergen, Norway  </html>