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<DIV><FONT face=Arial size=2> OK, Bill. You'll =
have to give a
dummy like me a clue. Temperaments are one thing. Octave stretch is =
another. Jim
Sr. said that you had done "something" to your octaves, and that he =
liked it.
What did you do? I have found that the amount of stretch is a matter of =
taste;
what sounds pleasing to one tuner sounds noisy to another. So in the =
interest of
continuing education ( that holiest of grails which we are always on a =
crusade
for) clue me in. Please?</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV><FONT face=Arial size=2></FONT> </DIV>
<DIV>Kevin E. Ramsey<BR><A
href="mailto:ramsey@extremezone.com">ramsey@extremezone.com</A> </DIV>
<BLOCKQUOTE
style="PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
<DIV style="FONT: 10pt arial">----- Original Message ----- </DIV>
<DIV
style="BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: =
black"><B>From:</B>
<A title=Billbrpt@AOL.COM =
href="mailto:Billbrpt@AOL.COM">Billbrpt@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> Saturday, April 07, 2001 =
4:32
PM</DIV>
<DIV style="FONT: 10pt arial"><B>Subject:</B> Re: Beat Cancelers was =
alternative temperaments</DIV>
<DIV><BR></DIV><FONT face=arial,helvetica><FONT size=2>In a =
message dated
4/7/01 5:39:56 PM Central Daylight Time, <BR><A
href="mailto:rbrekne@broadpark.no">rbrekne@broadpark.no</A> (Richard =
Brekne)
writes: <BR><BR><BR>
<BLOCKQUOTE
style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #0000ff 2px =
solid; MARGIN-RIGHT: 0px"
TYPE="CITE">You know Bill,,, I am begginning to understand that this =
is a
bit more <BR>important then I origionally thought some months ago =
when I
first heard you <BR>talk about beat cancelling effects other then in =
unisons. </FONT><FONT lang=0 face=Arial color=#000000 size=3 =
FAMILY="SANSSERIF"></BLOCKQUOTE><BR></FONT><FONT lang=0 =
face=Arial
color=#000000 size=2 FAMILY="SANSSERIF"><BR>You bet it is, =
Richard and you
will not find out anything about it in any <BR>book on piano tuning, =
any
course about piano tuning or in any class at the <BR>PTG Annual =
Convention.
Now, how often does anyone *really* come up with <BR>anything =
*new*
concerning tuning that is of any importance? I'll just keep =
<BR>on doing
what I do until a few more people catch on to it and confirm the
<BR>extraordinary effects. <BR><BR>I'll tell you about one person who =
did
notice this effect way back in it's <BR>earliest days. It was =
none other
than Jim Coleman, Sr RPT. After hearing a <BR>Baldwin SD-10 =
tuned in the
EBVT with tempered octaves at the PTG Annual <BR>Convention in =
Milwaukee,
1993, he, at his age, literally bounded up to me at <BR>the conclusion =
of the
recital. His words were, "You've done *something* with <BR>the =
octaves.
I don't know what it is but I *really* like it!" =
Subsequent
<BR>meetings where it was compared with the very best of ET tuners, =
Virgil
Smith <BR>RPT demonstrated a *significant* difference which had =
undeniable
appeal. <BR>There is a good reason for me *not* to enter into =
any more
tuning <BR>"competitions": I'd win them hands down each time =
against ET.
<BR><BR>The truth is that it is so simple as to be *mindless* and it =
can be
<BR>duplicated and verified by an ETD but not through the smooth, =
calculated
<BR>curve methods proposed by all of those program designers. =
You just
have to <BR>make the effort to learn what I have learned to do by =
putting
together the <BR>teachings of several of PTG's best technicians, =
including but
not limited to <BR>Coleman, Smith and Jorgensen. <BR><BR>Go for it.
<BR><BR>Bill Bremmer RPT <BR>Madison, Wisconsin</FONT>
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