<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD>
<META content="text/html; charset=iso-8859-1" =
http-equiv=Content-Type>
<META content="MSHTML 5.00.2314.1000" name=GENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=#ffffff>
<DIV><FONT size=2>Bill,</FONT></DIV>
<DIV> </DIV>
<DIV><FONT size=2>Thanks for continuing to restate and improve your
directions. I've been trying to follow along and learn EBVT, and =
decide
whether or not I like how it sounds. Currently undecided, most =
likely due
to not getting it right. Anyway, I'm looking forward to the next
installment: "detailed notes and explanations for each =
step"; please
try to include tests and troubleshooting, for example "if the A#-D# 4th =
and
G#-D# 5th beat too fast, then..... ". </FONT></DIV>
<DIV><FONT size=2></FONT> </DIV>
<DIV><FONT size=2>In past posts, you've referred to "reverse well =
temperament,
the most common error made by aural tuners attempting equal =
temperament"?
What is reverse well? How can I watch out for, and avoid or =
correct it as
I'm setting an equal temperament?<BR></FONT></DIV>
<DIV><FONT size=2> Background: Only a couple years tuning =
experience,
maybe 300 tunings, Randy Potter graduate, but use RCT when I can't =
afford errors
or extra time, which is most of the time. (I do floor work for one =
dealer
who doesn't mind if I try weird stuff on his pianos, so the aural ET and =
EBVT
happens at his place and at home). I'll be taking the tuning exam =
at
Reno.<BR></FONT></DIV>
<DIV><FONT size=2>thanks,</FONT></DIV>
<DIV> </DIV>
<DIV><FONT size=2>Mike Spalding</FONT></DIV>
<DIV> </DIV>
<BLOCKQUOTE
style="BORDER-LEFT: #000000 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: =
0px; PADDING-LEFT: 5px; PADDING-RIGHT: 0px">
<DIV style="FONT: 10pt arial">----- Original Message ----- </DIV>
<DIV
style="BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: =
black"><B>From:</B>
<A href="mailto:Billbrpt@AOL.COM" =
title=Billbrpt@AOL.COM>Billbrpt@AOL.COM</A>
</DIV>
<DIV style="FONT: 10pt arial"><B>To:</B> <A =
href="mailto:pianotech@ptg.org"
title=pianotech@ptg.org>pianotech@ptg.org</A> </DIV>
<DIV style="FONT: 10pt arial"><B>Sent:</B> Sunday, June 03, 2001 =
1:56 PM</DIV>
<DIV style="FONT: 10pt arial"><B>Subject:</B> New Bearing Plan for =
EBVT</DIV>
<DIV><BR></DIV><FONT face=arial,helvetica><FONT size=2>List, =
<BR><BR>After
taking note of comments from other technicians who have tried to tune =
<BR>the
EBVT, the following is a new approach to tuning it. It does not =
change
<BR>the basic results of what I've always done, it hopefully only =
makes the
idea <BR>easier to understand and follow. Later on, I will write =
a page
or two of <BR>detailed notes and explanations for each step. =
<BR><BR>This
simple bearing plan does not describe how to test intervals or how to
<BR>adjust for inharmonicity. I invite all questions and =
comments which
will <BR>help contribute to the detailed notes pages. =
<BR><BR>Happy
EBVT tuning! <BR><BR>Bill Bremmer RPT <BR>Madison, Wisconsin
<BR><BR>
=
<BR> &nb=
sp; New
Temperament Sequence (Bearing Plan) for the
=
<BR> &nb=
sp; Equal
Beating Victorian Temperament (EBVT) <BR><BR>1. Tune A4 to A-440 =
pitch
source. <BR>2. Tune A3 to A4, stretching the octave to a a 6:3 =
type.
<BR>3. Temper F3 from A3, a wide 3rd, estimating it to beat at 6 =
per
second, <BR> just slightly slower than it would =
be in
Equal Temperament (ET). <BR>4. Tune C4, a pure 5th from =
F3.
<BR>5. Temper E4 a wide 3rd from C4, making it also beat at 6 =
per
second. <BR> (about half the speed of the same =
interval
in ET.) <BR>6. Temper G3 from E4, a wide Major 6th so that it =
beats
exactly the same <BR> as the F3-A3 and C4-E4 =
3rds. (6
beats per second). <BR>7. Temper D4 from both G3 and A3 so that =
both the
G3-D4 5th and the <BR> A3-D4 4th beat at =
exactly the
same mild rate. (Each one just slightly =
<BR> more
tempered than in ET). <BR>8. Temper B3 from G3, a wide Major 3rd =
so that
it beats exactly the same <BR> as the F3-A3, =
C4-E4 and
G3-B3 3rds and the G3-E4 6th. (Approximately =
<BR> 6
beats per second). Now, the F3-D4 6th may also beat at 6 per =
second.
<BR>9. Tune F4 a pure 4th from C4. This will make a =
pure
sounding 4:2 octave <BR> from F3-F4. =
<BR>10. Tune
Bb3 a pure 5th from F4. <BR>11. Listen to the resultant =
3rd,
Bb3(A#3)-D4. Temper C#4 from A3 so that
<BR> the A3-C#4 3rd beats exactly the =
same as the
Bb3(A#3)-D4 3rd. <BR>12. Tune F#3 a pure 5th from C#4. =
<BR>13.
Tune G#3 a pure 4th from C#4. <BR>14. Temper D#4 from =
both G#3
and A#3 so that both the G#3-D#4 5th =
<BR> and the
A#3-D#4 4th beat exactly the same as each other (slightly
<BR> less tempered than in ET or nearly =
pure).
<BR>15. When expanding the octaves do so in a manner which will =
cause
the <BR> 2nd inversion major triads of C, G, D, A, E, =
& B
to have the 3rd & 6th <BR> beat exactly the same. =
The octave should be stretched enough so that
<BR> there is a very slight beat in the single octave =
(approximately 1/2 <BR> beat per second) and that the =
tempered 5th will beat slower than the <BR> 4th. When =
both
the 4th and the 5th were pure in the temperament, the
<BR> octave will naturally be stretched a little less =
than an
octave <BR> whose 4th and 5th are tempered. <BR>16. =
When
expanding the outer octaves, try to reconcile the double octave
<BR> and the octave and a 5th (12th) so that the =
double
octave and the 12th <BR> beat exactly the same. (A =
very
slight beat, almost inaudible). This <BR> will =
naturally
result in octaves which vary slightly in size up and
<BR> down the keyboard. These will quite effectively =
be
"tempered <BR> octaves".
<BR></BLOCKQUOTE></FONT></FONT></BODY></HTML>