<HTML>List, Jason Kanter has done some very excellent work both with finding true, workable "correction figures" for my Equal Beating Victorian Temperament (EBVT) and making a comprehensive and easily readable graph for it.  If he makes the same kind of graph for some other commonly used temperaments, he will have done very excellent and valuable work for the tuning profession. Below are his raw figures.  In programming your ETD, just round off as would be appropriate.  Still, as Jason noted, he could not address the unique but very *human* way in which I stretch the octaves that no computer can yet handle.  However, if you program you ETD, you will be close and you'll get a good tuning.  If you want to tweak your octaves to get the exact sound I do, it will be a simple matter to do that aurally once you've followed the curve the ETD has produced. Just see my website for the page on "How to Tune Tempered Octaves".  And as always, see it for the way to tune the EBVT aurally.  Even that page needs to be updated.  I have gone to tuning the initial F3-A3 interval at 6 beats per second, then tuning a pure F3-C4 5th, an F3-F4 4:2 octave which creates a pure C4-F4 4th, then filling in the Bb3 which will be a pure 4th to F3 and a pure 5th to F4.  When the F3-Bb3-C4-F4 are all played together, there should be a pure, beatless sound.  This provides for a certain aspect of crystal pure clarity which can be found in no other historically documented Victorian era temperament nor in any other contemporary mild, Well Tempered Tuning. Furthermore, Jason noted that when this temperament is tuned correctly, the C3-E3-G3 triad will sound much purer than it really is.  The C3-E3 3rd beats at 3 beats per second, the E3-G3 5th beats at 6 beats per second.  This is an example of what is known as *Proportionate Beating*.  In this case, for every 1 beat, there are *exactly* 2 more.  In other cases there can be 2:3 and so on.  Just as with *Equal Beating*, there is a unique *canceling out effect* (or phenomenon, perhaps) which causes a certain cleanness or clarity which cannot be produced in any other way. While ETD programming of some historically documented temperaments can perhaps produce some of these effects by happenstance, the only real way to get them is by careful and deliberate design in aural tuning. Are you reading this, David Anderson, Malibu, CA?  I like Virgil's tuning too.  And that's why I asked him to demonstrate an aural ET tuning at the Temperament Festival at the 1998 Convention.  His tuning held up as being the *best* until it was compared side by side with mine in the final round.  The rest is History. I have asked Jason Kanter to either post his graph to the list or offer it to be sent privately.  I will send it privately upon request, not wanting to post any attachments to this list.  It will also be posted on my website as soon as I can manage to get it on there. Bill Bremmer RPT Madison, Wisconsin <A HREF="http://www.billbremmer.com/">Click here: -=w w w . b i l l b r e m m e r . c o m =-</A> </HTML>