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At 12:10 AM 1/31/2002 -0800, you wrote:<br>
<blockquote type=cite cite><font size=2>Just finished restringing a piano
and thought I'd take the opportunity to check out the Moore
temperament. I must admit that it is quite to my liking as far as
these go. It offers enough variation in color from key to key but
the differences are understated with none of the remote keys too harsh
for my ear. Quite nice really. Thanks Jon Page and Ron
Koval.</font><br>
<br>
<font size=2>David Love</font></blockquote><br>
I tuned this Temperament again yesterday for a vocalist an his newly
rebuilt B right from S&S NY (first tuning).<br>
When I offered it to him he said that he was familiar with Well
Temperaments and liked them.<br>
I have used the stretch proportion posted by Ron Koval since he posted
it, thanks Ron.<br>
<br>
This tuning scheme is more in line with the way I tune aurally. When I
first received the VT, the tunings sounded<br>
too sterile. Although very nice, just didn't have that 'organic' feel to
them. I have since become use to it.<br>
But having done few WT tunings I can now discern the difference from ET
and will offer non-ET to more customers.<br>
I think it will really go over well with a choral performing organization
here. I have never been a staunch advocate<br>
of ET, didn't care one way or the other; it's just that I didn't like to
tune so much as to learn a new temperament scheme.<br>
The ease offered by electronics has changed that. I actually don't dread
tuning now.<br>
<br>
I can now fully appreciate the use of an ETD. Not only in the stress
reduction aspects but the versatility.<br>
The way it has reduced stress is in two ways. One is the mental
concentration and the other is decibel reduction.<br>
When tuning aurally, two notes are played together, repeatedly.
Perception is called upon to discern the proper interval.<br>
This can tax your head particularly on some pianos. The volume is an
attack on your ears.<br>
When tuning with an ETD, one note is played. The machine decides where
the note goes and two notes are only played<br>
together for interval verification. So the only perception brought to
bear is on verification and the db level plummets with<br>
only one note being driven to stability. Even tuning unisons with false
beats is easy by matching the cents deviation<br>
for each wire and then maybe aurally phase them out if necessary.<br>
<br>
I also discovered that I had been tuning the last few notes extremely
sharp having rounded 50 a few years ago.<br>
The Verituner has kept me from breaking strings on C88, should have
bought one years ago.<br>
<br>
<div>Regards,</div>
<br>
<div>Jon Page, piano technician</div>
<div>Harwich Port, Cape Cod, Mass.</div>
<div><a href="mailto:jonpage@mediaone.net" EUDORA=AUTOURL>mailto:jonpage@mediaone.net</a></div>
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