Hi Jim: >What do you mean by the difference between temperament and tuning? >I guess I really don't understand. I'm thinking in order to limit the variables as much as possible, use a group of the same model piano, and tune each with it's own RCT Ch.II generated tuning- using the same Octave Tuning Style for each piano. Advantage: each piano is'tuned' the same way re: octaves' relation to IH. Disadvantage: perhaps there are things to be learned about interaction of temperaments and octaves... Some very fine tuners 'stretch' to compromise between double octaves and octave -fifths. I mean, they don't stretch the same for every note; if it's the upper note of a just fifth, it gets a different stretch than the upper note of a tempered fifth. I'm not convinced this is best, but I'm not sure - To "allow" it in this 'event' would be a great learning opportunity, but would compromise the temperament comparison, I suppose.... I have to think about this some more. Clear as chocolate pudding? or maybe lime jello? Paul Bailey Hi Paul: I don't think I understood your last phrase in the snip below: > So we could have temperament comparison tune-off events. I'd almost be more interested to see whether audiences would prefer rivals of et to et ; or 'mild' w.t.'s (victorian w.t.'s ) to et. "You can't step in the same river twice" and all that, but maybe we could have a small handfull of new somethings (Kawais?) and we could eliminate many variables, change only the temperament, and not the tuning, if you understand.... > What do you mean by the difference between temperament and tuning? I guess I really don't understand. Jim Coleman, Sr.
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