<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN"> <HTML><HEAD> <META HTTP-EQUIV="Content-Type" CONTENT="text/html; = charset=iso-8859-1"> <META content="MSHTML 6.00.2800.1106" name=GENERATOR></HEAD> <BODY> <DIV><FONT face=Arial size=2><SPAN class=015181217-08112004>Hello everyone.</SPAN></FONT></DIV> <DIV><FONT face=Arial size=2><SPAN class=015181217-08112004></SPAN></FONT> </DIV> <DIV><FONT face=Arial size=2><SPAN class=015181217-08112004>After = getting help from several of you on this list, I went back to it on that M&H 50" = upright that I was having trouble with, and it is going much better = now.  I'm not having any more of the problem I was having hearing the beating = between the strings in question clearly, and without confusion from influence of the = outside strings.</SPAN></FONT></DIV> <DIV><FONT face=Arial size=2><SPAN class=015181217-08112004></SPAN></FONT> </DIV> <DIV><FONT face=Arial size=2><SPAN class=015181217-08112004>I just = needed a thicker temperament strip.  It's almost embarrassing that I didn't = figure that out in the first place, but I guess I can give myself a break because all three types I had that were actually made for the = purpose (including the one that came with the Randy Potter course) weren't thick = or dense enough for the M&H 50" upright.  The only thing that = worked well was a strip of dense red felt that wasn't as wide, but is more = than 1/8" thick.  Looking at catalogues and what's in these pianos, = seems like maybe it's spring-rail felt.  I also tried using two regular temperament strips in parallel, and that worked almost as well too.</SPAN></FONT></DIV> <DIV><FONT face=Arial size=2><SPAN class=015181217-08112004></SPAN></FONT> </DIV> <DIV><FONT face=Arial size=2><SPAN class=015181217-08112004>Later, = I'm going to try some of the other ideas (backrail cloth, action cloth) and at least = look at <FONT size=2>a 'split mute with a steel strap handle.'  I = finally found out what is meant by action cloth, but I have to try to get Schaff = to send me a catalog to see the trap-handled mute.</FONT></SPAN></FONT></DIV> <DIV><FONT face=Arial size=2><SPAN class=015181217-08112004></SPAN></FONT> </DIV> <DIV><FONT face=Arial size=2><SPAN class=015181217-08112004>But = anyway working with the thicker action felt I had on hand already, instead of any of = the normal temperament strip-mutes, it worked so much better that I moved right = through setting the temperament.  I was setting Kirnberger II, because I = wanted to try it and it's comparately so extremely simple to do by ear compared to = ET.  Since I only have the first 1/5 of the Randy Potter course, I = didn't think I wanted to start trying to do ET by ear yet.  Anyway, using = the thicker material, I was able to work much more quickly and with less uncertainty.  </SPAN></FONT></DIV> <DIV><FONT face=Arial size=2><SPAN class=015181217-08112004></SPAN></FONT> </DIV> <DIV><FONT face=Arial size=2><SPAN class=015181217-08112004>Things = were going so much better that with 9 separate steps in which to potentially = accumulate errors, the F#-C# fifth -- two notes which are = on the opposite ends of the chain of intervals (the nine steps between those = two notes) -- which is supposed to come out like an ET 5th (the only one), was = in the ballpark!  Actually, at first it was obviously pretty far off, but = I only had to go back and adjust one interval (and re-do two notes that = depended on it).  For me, that was gratifying.</SPAN></FONT></DIV> <DIV><FONT face=Arial size=2><SPAN class=015181217-08112004></SPAN></FONT> </DIV> <DIV><FONT face=Arial size=2><SPAN class=015181217-08112004>New Topic:</SPAN></FONT></DIV> <DIV><FONT face=Arial size=2><SPAN class=015181217-08112004></SPAN></FONT> </DIV> <DIV><FONT face=Arial size=2><SPAN class=015181217-08112004>Does = it seem normal that sometimes Minor Sixths seemed clearer to tune than the inverse = interval, a Major Third?  Since Minor Sixth partials align at 8th of the lower = note to 5th of the upper note, off-hand they seem like they would be weaker and = less clear than matching 5th to 4th partials of  Major Third.  But = to me sometimes the Minor Sixth seemed clearer and easier to listen to the = beats of than the Major Third.  </SPAN></FONT></DIV> <DIV><FONT face=Arial size=2><SPAN class=015181217-08112004></SPAN></FONT> </DIV> <DIV><FONT face=Arial size=2><SPAN class=015181217-08112004>I = thought maybe it was because the 5th partial involved in either interval is relatively = weak compared to octave-type partials like 4s and 8s, so it's intensity is = better matched to an 8th partial than a relatively stronger 4th partial, and = somehow that more comparable intensities made the harmony or lack = thereof clearer to hear.</SPAN></FONT></DIV> <DIV><FONT face=Arial size=2><SPAN class=015181217-08112004></SPAN></FONT> </DIV> <DIV><FONT face=Arial size=2><SPAN class=015181217-08112004>If = anyone has any comments about this, I'd be very interested to hear.</SPAN></FONT></DIV> <DIV><FONT face=Arial size=2><SPAN class=015181217-08112004></SPAN></FONT> </DIV> <DIV><FONT face=Arial size=2><SPAN class=015181217-08112004>Best regards,</SPAN></FONT></DIV> <DIV><FONT face=Arial size=2><SPAN class=015181217-08112004></SPAN></FONT> </DIV> <DIV><FONT face=Arial size=2><SPAN class=015181217-08112004>Trent</SPAN></FONT></DIV> <DIV><FONT face=Arial size=2><SPAN class=015181217-08112004></SPAN></FONT> </DIV> <DIV><FONT face=Arial size=2><SPAN class=015181217-08112004></SPAN></FONT> </DIV></BODY><P align=center><FONT face=Tahoma = size=2><FONT color=#0000ff>****** IMPORTANT NOTICE ******<BR>This = e-mail, and any attachments hereto, is intended only for use by the = addressee(s) named herein and may contain legally privileged and/or = confidential information. If you are not the intended recipient of = this e-mail, you are hereby notified that any dissemination, = distribution or copying of this e-mail, and any attachments hereto, is = strictly 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