ET

[A440A@AOL.COM]

Mike asks: inre my customers, 
>your customer triad, (Vanderbilt,
>recording studios, and professional musicians).  What type of
>professional musicians do you have as regular customers?

     The classical side of Vanderbilt is where the majority of my HT's find
themselves. However, there are quite a few songwriters here in town, and
slowly I am exposing them to the Young(1799) as a departure point. They tend
to write in the simpler keys, so this is usually seen as an improvement.
Singers around here select the key for their voice, so the HT's do often
present problems for them. 
   There is still only one recording studio here in an HT, but I am still
working on spreading the concept on music row. Session musicians are usually
preferring ET, which is natural, as that is where their money comes from. 
    Private customers get the HT pitch when I see what kind of music they are
playing.  If it is Chopin and before,  I can usually sell the idea, because I
believe in it.  Contrary to some others,  I don't like the sound of
Rachmaninoff or Gershwin in a Well Temperament.  I hear the dissonance palette
as interruptive, but that is just my own subjective taste, which is also
reinforced by feedback from some of my adventurous," later music" clientele
that have tried it.  Cage's 4'33" is the exception; it sounds best in 1/2
comma meantone, with 200% stretch and wild unisons............(:)}}
    Students are easier to lead into the fold, but I don't yet know if that
has as much to do with the concept as the sound.  As a student, I was always
looking for something to challenge the status quo, and it doesn't look like
the current crop is any different.  
Regards, 
Ed Foote