tuning

[Michel Lachance]

Ralph,

Mine is pretty straight:

A4 - A3

Then I adjust F3 to A3 till I hear a "ghost" F4-A4-C5 chord.  I took 
that trick in Travis book "Let's Tune Up".

I set up the usual "four pivot tones" F3 - A3 - C#4 - F4 (the expression 
is from Jim Coleman if I recall).

>From each of those I simply tune in fourth and fifth, testing major 
thirds so that beating speeds are progessive in the upward direction.

The three notes that are left, G3, B3 and Eb4, are "squeezed" between 
the already tuned notes:  G3 with C4 and D5, B3 with F#3 and E4, Eb4 
with Bb3 and Ab3.  Again, always testing the thirds.

This may not be the best temperament ever (although I sucessfully passed 
the PTG test with it) but I personnally find it quite secure and pretty 
fast.  It is certainly better that the one described in John Cree's 
Fisher's book where you tune 24 notes by means of octaves and fifth 
before you proceed to one and final test by playing the first and last 
notes together.  And if you get a wolf, he says, you just do the whole 
thing over again...

I don't mean to discredit Mr Fisher however. I heard he was an excellent 
tuner.

Could anyone post the Sanderson-Baldassin temperament or at least give 
the reference in the Journal?

Thanks.

Michel Lachance, RPT

ralph m martin wrote:
> 


> Come on, Guys and Gals
> I've only had 6 responses up to now. Not enough for even a rough
> sampling. There are only two approaches to setting a temperment...4ths
> and 5ths (checking with 3rds and 6ths) and 3rds (checking with 4ths an
> 5ths) All others are variation on these two to the best of my knowledge.
> 
> Just trying to find out which is the most prevalently used at this point
> in time. If you are currently using a SAT , you must have used something
> before you got the thing.
> 
> Ralph Martin
> 
> If you want to reply off list...please feel free.