<HTML>In a message dated 7/21/01 11:29:22 AM Central Daylight Time, cybertuner@planet.nl (D.Martens) writes: <BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">Does anyone amongst you have Bill Bremmer's tempered octaves tuning  , recorded in RCT-tuningfiles or other chartform  with cents offsets ?</BLOCKQUOTE> Unfortunately, there is no program, either SAT, Tunelab nor RCT that constructs octaves the way I do, although if you are tuning in ET, there may be some of them that come close to it. My outer octaves are determined by making a compromise between the double octave and the octave and 5th.  For example, if you want to tune the note F5 (having already tuned from F3 to E5), you would play the double octave, F3-F5, then find the point at which it sounds pure.  Then, play the octave and 5th interval, Bb3-F5.  There will probably be a noticeable beat.  Sharpen the note F5 until the octave and 5th beat slows down but the double octave begins to have a very slight beat.  Find the point where both intervals seem "apparently in tune" or otherwise beat exactly the same. This tuning idea is known as "Equal Beating".  If you continue this idea all the way to the top and a mirror image of it all the way to the bottom, you will find that you have beautifully stretched, melodic sounding octaves.  If I want even more stretch than this method will afford, I make triple octaves and the double octave and 5th be an exact compromise. This can easily be done aurally but the SAT can also show the exact same compromise.  With the SAT set on the note to be tuned, play the double octave and then the octave and 5th.  Find the point at which the lights rotate equally, clockwise and counterclockwise and you will have the perfect compromise.  With a little practice, this can be done very quickly and easily. I am not familiar with how the Tunelab and RCT programs operate but it may be possible to make and store the same compromise with those programs too.  With any of the programs, you may use the usual calculated smooth curve program, choosing the one with the most stretch and tune it first.  Then go back through the notes in the upper and lower octaves and make the fine adjustments that would satisfy the Equal Beating compromise. The only way I know of to have this idea in a program is to store your work and use it as a programmed tuning.  The writers of all three of the popular smooth curve programs have boosted the amount of stretch available in their programs in recent years in response to the popular demand for more stretch.   I don't know if they will be able to reproduce the Equal Beating idea some day or not. I am not the only one who uses this idea, by the way.  Steve Fairchild RPT also uses the same basic idea. I'll send you a copy of some more extensive writing I did on this subject in a private post. Thanks for your interest and good luck with it. Bill Bremmer RPT Madison, Wisconsin</HTML>