<HTML>In a message dated 10/16/01 9:14:31 PM Central Daylight Time, pianola@online.no (Ola Andersson) writes: <BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">I very much like the Young myself. I usually end up playing in the Db key and the velttemperert klavier ...woow. </BLOCKQUOTE> This is in itself a very interesting comment.  The sounds which are titillating to *you* go unnoticed by many (at least consciously) and are what incite small but very angry and vocal mobs to near violence at PTG seminars and conventions. Owen Jorgensen had me tune the Young and 1/4 Comma Meantone for him at the Convention in Dearborn.  I usually would not have done either one.  To me, the Meantone was so extreme that it causes the piano to lose virtually all of the *resonance* it has become known for.  The Young was just too bland and uninteresting.  I never tune it because to me, there are so many more ideas which do make the modern piano more tonal and give music a very desirable *texture* which is not found with ET. Still, there are those who will say that even a Victorian temperament sounds out of tune.  Some people are so used to the perfect evenness of ET that anything the slightest bit irregular sounds "out of tune".  I haven't heard Ed Foote's latest CD but I do have his "Beethoven in Temperaments".  I *do* like it and think it is more musical than anything else I have in my entire collection, playing the same pieces, but my impression of it was again, too bland.  Yet, I know that there were people who wrote and I heard say that it sounds "out of tune". Below is a list of temperaments I use, aside from my much touted EBVT which I would use before I would use either of the temperaments Ed mentioned in his post (Young or Broadwood).  Only two of these are published and neither is in the "Big Red Book".  There are no "numbers" available (at this time).  I use my unique Tempered Octaves method for tuning the octaves with each of these.  An FAC program would yield different results. I believe that with understanding and practice that these tunings can be accomplished aurally, with the SAT (any model) and probably with the other ETD's available.  The ETD simply needs to be able to produce intervals of specified sizes and compare 2 intervals and reach an equal compromise. *Modern Piano Temperaments* Marpurg-Neidhardt Quasi Equal Temperament 1-0 Quasi Equal, Ultra VictorianTemperament (where no note in the F3-F4 range is                          more than 1 cent deviant of theoretical ET) 1-0 Temperament Transposed (for unusual situations where the player plays very                           hard and mostly Romantic styles.  It is the antidote for people                           who are used to pianos tuned in Reverse Well.) 1/8 Comma Meantone 1/8 Comma Modified Meantone 1/8 Comma Meantone with 1 pure 5th 1/8 Comma Meantone with alternative "Wolf" placement  (This one is used for the                           purposes as the 1-0 Temperament Transposed) 1/7 Comma Meantone 1/7 Comma Modified Meantone 1/7 Comma Meantone with 1 pure 5th 1/7 Comma Meantone with alternative "Wolf" placement  (This one is used for the                           purposes as the 1-0 Temperament Transposed) I would also use the Vallotti Temperament (not Vallotti-Young) before I would choose the Young #1. *********************** By the way, Ola, your description of how you use test blows to settle a string tells me that you are doing very high level work. Perhaps a great tuning challenge can be done in your country.  I would present my EBVT with Tempered Octaves against the very best concert quality ET tuning that northern Europe has to offer.  Let the best musicians available and the audience decide which piano expresses music best. Bill Bremmer RPT Madison, Wisconsin</HTML>